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In this paper, we examine a state of a performer’s neutrality with a focus on rethinking and articulating key terms, concepts, and practical assumptions relevant to the thinking and approach of theatre practitioners and directors. To begin with, we examine the central value of a performer’s neutrality by addressing the key training sources with principles including the performer’s suppleness, openness, and softness. Particularly, this research engages in addressing common problematic issues among those inexperienced or studentperformers specifically whose difficulty through acting and training is defined as an effect of his/her inner conflict due to maintaining his/her familiarity or superfluous traits. In this manner, we argue that the performer’s body is far from interconnected unity by means of the opposite of essential energy on stage. To study on the issues and answer the questions addressed the thesis, we explore a performer’s creative state as an ideal state from those practitioners’/directors’ concepts and approaches including Lao-tzu’s concept of ‘nothing but everything’ centered on the notion of becoming true suppleness/softness. We then move on discussing the performer’s optimal bodily experiences (flow or flow experience) in articulating Mihaly Csikszentmihalyi’s concept of flow, and both Phillip Zarrilli and Eugenio Barba’s central concept of acing/ performer training with their practical thoughts. As a consequence of this, the research findings underline the importance of the performer’s own creative experience in order to lead his/her body to the precise structure for each training/discipline session. We call it the performer’s own authentic journey towards developing and creating new possibilities. In other words, as the performer acknowledges and allows his/her body through an ongoing process in a sense of ease as well as sustaining his/her substance, the performer’s body also becomes a whole unity where the dialectical terms or elements are transcended and/or bodymind dualism/dichotomy disappeared. Here, we argue that a state of the performer’s neutrality/flexibility connotes his/her body is inspired by the performer’s own creative choice simultaneously the body is also fully grounded in a series of every tiny moment on stage. That is, the performer’s body works in a state of his/her own creativity as well as inspiration, namely, the deepest dimension of acting and the highest level of performance.