Term
|
Definition
|
|
Term
|
Definition
| auditioning with a script without any opportunity to read before the audition |
|
|
Term
|
Definition
| to move from one place onstage to another |
|
|
Term
|
Definition
| intended point of interest onstage |
|
|
Term
|
Definition
|
|
Term
|
Definition
| to keep your face and the front of your body visible to the audience as much as possible |
|
|
Term
|
Definition
| a position onstage in which one actor mirrors another actor's body position |
|
|
Term
|
Definition
-information that is implied but not stated by a character
-thoughts or actions of a character that do not express the same meaning as the spoken words |
|
|
Term
|
Definition
-to stand upstage of another actor on a proscenium stage, forcing the other actor to turn away from the audience
-stealing the focus of a scene |
|
|
Term
| What is characteriztion? What things are invovled in this process? (what does a person need to do?) |
|
Definition
1) observation
2)use all your senses
3)take another look
4)become a people watcher |
|
|
Term
| Why is it important for an actor to have a broad variety of life experiences? What are some things a person can do to broaden his/her experience? |
|
Definition
-the larger the variety, the more reasons you have
-you can broaden this by hanging out with different people |
|
|
Term
|
Definition
| a person's memory of sights, sounds, smells, tastes, and textures |
|
|
Term
| Why is sense memory important for an actor? |
|
Definition
| using it, you can mentally transport yourself to a different situation to act as if you were there |
|
|
Term
| What are some things a person can do to apply sense memory? |
|
Definition
thinks of these questions:
-have i been in the situation?
-how did you react?
-what did you hear, smeel, taste? |
|
|
Term
| What is emotional memory? |
|
Definition
| the technique of calling upon memories of your own emotions to understand the emotions of a character |
|
|
Term
| Why is it important to be able to do more that just understand your character's emotional memory? |
|
Definition
| you must be able to express them clearly with your body and your voice because that way you gain empathy of audience, which makes the character more interesting |
|
|
Term
| What can a person do to help them discover/create their character's emotional memory? |
|
Definition
ask yourself these questions:
-have i experienced emotions like those of my character is experiencing?
-what was my circumstance?
-what did i feel?
-what specific actions did i take? |
|
|
Term
| What is action-generated memory? How does it work? |
|
Definition
-using actions to generate emotions in yourself to help you express your character's emotions
-it is most effective when you can apply actions observed in people experiencing the target emotion
-you can do it by performing actions associated with particular emtions |
|
|
Term
| How is your imagination like a muscle? |
|
Definition
| the more you exercise it, the more efficient it becomes |
|
|
Term
| What does it mean to say that the behavior of an actor onstage should never be arbitrary? |
|
Definition
| whether you are a character in an improvisation or a scripted play, your character needs a modivation to do or say anything |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
| something that stands between you and the achievement of your goal |
|
|
Term
|
Definition
| what you are going to do about the obstacle |
|
|
Term
|
Definition
| how you are going to do it |
|
|
Term
|
Definition
| the consequences of the outcome |
|
|
Term
|
Definition
|
|
Term
| What term would be used to describe a character's reason for doing or saying something? |
|
Definition
|
|
Term
| What is another term for a character's intentions or goals? |
|
Definition
|
|
Term
| Where does an actor get or come up with his/her objecctives? |
|
Definition
|
|
Term
| Where does the conflict in a play come from? |
|
Definition
|
|
Term
| what is the importance of knowning a character's background? |
|
Definition
| is that a person's background influences what you do, what you think about things, and how you express your emotions |
|
|
Term
| what does status quo mean? |
|
Definition
| the present circumstances |
|
|
Term
| How is status quo important to character development? |
|
Definition
| it affects how you develop your character's background |
|
|
Term
| Where does information regarding status quo for your character come from? |
|
Definition
| some come from the subtext or the play and others come from your observation |
|
|
Term
| what is a master gesture? How does one develop a master gesture? |
|
Definition
-a characteristic gesture
-it's developed in the manner you think the character would act |
|
|
Term
| How does one develop a character's voice? |
|
Definition
| you look at what the playwright says about your character and connect it with their personalities |
|
|
Term
| How does an actor determine a character's obstacles, strategies, actions, stakes, etc...? |
|
Definition
|
|
Term
| How does subtext relate to a character's spoken lines? |
|
Definition
| it allowed the actor to know how the character is feeling if it contradicts what they say |
|
|
Term
| What kinds of things does subtext reveal? |
|
Definition
| it reveals how a character's background influences that character's thoughts and actions |
|
|
Term
| What does it mean to be open to the audience? |
|
Definition
| keeping one's face and body visible to the audience |
|
|
Term
| What does one need to do to be open to the audience if he/she is performing on an arena or thrust stage? |
|
Definition
| you must shift your position frequently |
|
|
Term
| how to keep open on a proscenium stage sitting: |
|
Definition
|
|
Term
| how to keep open on a proscenium stage standing |
|
Definition
| full front, 1/4 right, 1/4 left |
|
|
Term
| how to keep open on a proscenium stage gesturing: |
|
Definition
|
|
Term
| how to keep open on a proscenium stage turning: |
|
Definition
| in the direction of your downstage hand |
|
|
Term
| how to keep open on a proscenium stage moving right or left: |
|
Definition
| right: by leading with right foot; left: by leading with left foot |
|
|
Term
| how to keep open on a proscenium stage crossing: |
|
Definition
| upstage: upstage arc; downstage: downstage arc |
|
|
Term
| how to keep open on a proscenium stage entering: |
|
Definition
| leading with upstage foot |
|
|
Term
| how to keep open on a proscenium stage entering/exiting through doorways: |
|
Definition
| open the door with upstage hand; go through a doorway; pull the door behind you and switch hands |
|
|
Term
| Which positions onstage are most dominant? |
|
Definition
| usually those that are most open such as full front |
|
|
Term
| Which areas onstage are most dominant? |
|
Definition
| center and downstage are the strongest |
|
|
Term
| How does an actor or director use focus? |
|
Definition
| directors coach actors in their line delivery and movement based in part on the knowledge that the audience takes its cue for focus from the actors |
|
|
Term
| How does the audience know where to focus? |
|
Definition
| an actor in a dominant position or one who is moving or talking is generally the focus |
|
|
Term
| How can an actor avoid stealing focus from another actor/character? |
|
Definition
-dont upstage yourself or another actor
-give your attention to the actors who are talking or moving
-sitting;dont look directly at the chair before you sit
-crossing; cross upstage of seated actors;cross downstage of standing actors
-eye contact; aviod making eye contact with the audience unless directed by the script or the director |
|
|
Term
| How should an actors posture be (in general)? |
|
Definition
| keep your posture straight but natural, with your weight evenly distributed over both feet |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
| those conducting the auditions |
|
|
Term
| What should an actor bring with him/her to an audition? |
|
Definition
| a resume of theatre experience and a photo of yourself |
|
|
Term
| What kinds of clothing should an actor wear to an audition? |
|
Definition
| flattering, but comforable clothes and shoes |
|
|
Term
| What is the purpose of having an actor perform two contrasting monologues at an audition? |
|
Definition
| its to show the range of your acting ability |
|
|
Term
| What are some basic rules for choosing a good audition monologue? |
|
Definition
| find a character that: interests you; you can relate to; & presents a variety of emotions |
|
|
Term
| What is important about pantomime in relationship to performing a monologue? |
|
Definition
| use the techniques of pantomime to place the character in a specific spot and imagine his/her height |
|
|
Term
| Why is it importnat for an actor to be as familiar as possible with the entire play and not just one part? |
|
Definition
|
|
Term
| What are some of the basic rules for a good cold reading? |
|
Definition
| concentrate of character's objective, dont buy yourself in the script, communicate, and project |
|
|
Term
| Know basic audition etiquette |
|
Definition
| arrive earely, bring a pen, be clear and positive |
|
|
Term
| What should you assume if you do not get callback? |
|
Definition
| that you didnt get the part |
|
|
