Each actor knows this instinctively, and there are periods set and allowed for within the play itself {in which} [where] each actor retires in order to refresh himself{. In these} [, where] he is informed through {the} [these] inner senses of his other roles [in other plays], and [where] he realizes that he is far more than the self {appearing} [demanded by his role] in any given play.
Now before you see anything physically, you {do so} [perceive it] through these {inner} [interior] pathways. The interior perception activates the {outside} [physical] one. When you experience physical motion or activity, events or phenomena, you are becoming aware of the tail end of a long “series” [(in quotes)] of interior {comprehensions} [perceptions]. I am saying that all exterior events, including your own bodies with their insides, {all} objects, {all} [any] physical materialization{s}, {are} [is] the outside structure{s} of [an] inside one{s} that {are} [is] composed of interior sound {and} [,] invisible light, [all] interwoven in electromagnetic patterns.
When you rage against humanity {it is} [you hate it] because you love it. To deny the existence of hate {then} is [then] to deny love. It is not that {those 31 emotions} [love and hate] are opposites [(underlined)]. It is that they are different aspects, and experienced differently. {To some extent you} [You] want to identify [to some extent] with those you {feel deeply about} [love]. You do not love someone simply because [(underlined)] you {associate} [identify] portions of yourself with another. You {often} do [often] love another individual because such a person evokes within you glimpses of your own [(in quotes)] “idealized” self.