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emotional or subjective acting |
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when actors play their parts in such a way that they actually weep, suffer, or struggle emotionally in front of the audience |
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technical or objective acting |
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performance is based on acting technique |
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main characters in the play |
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person who must solve the problem that arises in the play or be defeated in the conflict |
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person who opposes the goals of the protagonist |
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characters who act as contrasts to others with whom other characters, usually the protagonist, are compared |
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a character with whom another character, usually the protagonist, is compared |
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almost alwas include some distinguishing trait, idiosyncrasy, or personality type |
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casting someone over and over again in the same kind of role |
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the ability to change style or character with ease |
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the books that you read to help shed light on your character |
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communication that uses gestures, postures, and facial expresstions instead of words |
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a distinctive action that serves as a clue to a character's personality |
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the part of the body that appears to lead gestures, such as the chest as a leading center for a brave character |
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usually resemble in appearance and personality the characters the playwright had in mind |
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putting together all facets of a character to bring life and interest to that character |
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an individual whose posture, movements, habits, voice inflections, and manerisms are observed in order to build character |
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movement from one stage postition to another |
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when he or she pivots the torso and turns the face toward the audience |
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stand or sit parallel to another actor |
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when he or she crosses downstage and then turns slightly upstage toward the other actor |
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when they shift the angle of their bodies upstage and look directly at the scene's key character |
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"taking yourself out of a scene" |
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an actor who turns away from the audience into a three-quarter back or full position draws attention away from himself or herself. |
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rising, falling, sustained, and circumflex |
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used to indicate questioning, surprise, or shock |
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usually signals the end of a statement also used to express depresstion, finality, or firmness |
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staying on the same note which suggests calmness, decisivness, or steadiness or purpose |
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the intonation of two or more vowel sounds for a what ordinarily is a single vowel sound |
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what your character thinks but does not say |
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the use by an actor of a personal experience to relate to the experience of a character within a play |
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the impromptu portrayal of a character without preparation or rehersal |
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lines that are interrupted by another speaker |
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the speaker trails off rather than finishing the line |
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placing the emphasis on exactly the right word and timing the rate and pauses so that the audience gets the full emotional impact |
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figuring out the meaning of the line and stating it in your own words |
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the audience's reaction that actors listen for in order to anticipate the length of time the audience will laugh |
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to improvise stage buisness or conversation |
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who and what are onstage when the curtain opens |
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the area behind the set or that part of the stage that is not visible to the audience, including dressing rooms, shops and offices |
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an acting role with very few lines, a piece of stage buisness in one scene |
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getting behind furniture or other actors so that you cannot be seen by the audience |
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using dramatic devices, such as increased tempo, volume, and emphasis, to bring a scene to climax |
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any specific action (other than changing location) preformed on the stage, such as picking up a book or turning on a television set |
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the symbol used to identify the center of the stage |
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a movement in a direction opposite to a cross to balance the stage picture |
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to obstruct the view of the audience; use of ad-lib to cover an unexpected, unwanted event during a performance |
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the last words, action, or technical effect that immediatley precedes any line or buisness; a stage signal |
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the curtain or drapery that shuts off the stage from the audience; when written in all capital letters in a script, it indicates that the curtain is to be closed |
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to break into the speech of another character |
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the part of the stage toward the audience |
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as a technical term, placing furnishings, pictures, and similar items to complete and balance a set; keeping the stage picture balanced during the action |
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giving lines and action in such a way that another actor can make a point or get a laugh |
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an acting role that is used for personality comparison, usually with the main character |
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items (properties) such as tools, weapons, or luggage carried onstage by an individual player |
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to emphasize a word or line with extra force |
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waiting for the audience to quiet down after a funny line or scene |
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terms used to refer to the stage from an actor's point of view, not from that of the audience |
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to draw the maximum response from the audience from comic lines or action |
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to speak when someone else is speaking |
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the movement or sweep of the play as it progresses |
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the small props that are usually carried in an actor's costume, such as money, matches, a pipe, or a pen |
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the stage command for actors to take their positions at the opening of an act or scene |
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the main characters in a play or the named characters in a musical |
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all the stage furnishings, including furniture and those items brought onstage by the actors |
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the analysis of a character |
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script scoring or scripting |
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the marking of a script for one character, indicating interpretation, pauses, phrasing, stress, and so on |
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the scenery for an act or a scene |
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properties placed onstage for the use of actors |
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half-sheet pages of a script that contains the lines, cues, and buisness for one character |
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attracting attention from the person to whom the audience's interest legitimately belongs |
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the unstated or "between the lines" meaning that an actor must draw from the script |
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the last speech in an act or play, usually humorous or clever |
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giving an actor the freedom to move over the entire stage area, usually during a lengthy speech |
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the speed at which the action of a play moves along |
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the execution of a line or a piece of business at a specific moment to achieve the most telling effect |
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to make a line stronger that the line or lines preceding it by speaking at a higher pitch, at a faster rate, or with greater volume and emphasis |
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the area toward the rear of the stage away from the audience |
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improperly taking attention from an actor who should be the focus of interest |
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a small acting part that has no lines |
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notification of an upcoming action or cue; usually indicating the promptbook |
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when actors internalize a character, they develope a deep personal understanding of what the character is really like |
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the process by which the true personalitly of a character is made visible to an audience |
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the ability to direct all your thoughts, energies, and skills into what you are doing at any single moment |
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observing people carefully, noting how they communicate fine shades of emotion |
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recalling of specific emotions that you have experienced or observed |
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once inner feelings are externilized, they must be projected to the audience |
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the why of charaverization, to be believable your character's behavior must be driven by an inner force |
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8.) Stretching a Character |
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the process of making a role unique, individual, and interesting |
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9.) The Consistent Inconsistency |
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a special personality trait of a character that the actor chooses to emphasize |
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10.) Playing the Conditions |
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conditions are the elements of time, place, weather, objects, and the state of the individual |
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11.) Playing the Objectives |
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includes all the ways and means that a character uses to reach a goal |
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12.) Playing the Obstacles |
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facing each crisis or obstacle that stands in the way of an objective as the character would face it |
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how an actor uses objects onstage to project character |
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the fuel that drives acting, both individual preformance and group performance |
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directs the actor's attention, action, emotion, or line delivery to a definite target |
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every actor who plays a character should be unique in that role, not merely a close copy of someone else |
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