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DIRECTING > BARROW > Flashcards

BARROW Flashcards

1
Q

Do Stuff

A

Physical Tasks to Connect to Environment

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2
Q

Continue Activity

A

Do not stop activity when speaking.

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3
Q

Conversation Exercise

A

Slip into TEXT during a normal conversation.

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4
Q

Dovetail

A

Overlapping, Interrupting before trigger line is complete.

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5
Q

Physical Intentions Movement

A

Do not move for PSYCHOLOGICAL reasons.

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6
Q

Look Before Crossing

A

Glance at Destination before moving.

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7
Q

Entrances + Exits

A

Be engaged during Entrances + Exits with a task.

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8
Q

Confide Onstage

A

Look for places to add CONFIDING WHISPERS, or other SECRET MAKING.

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9
Q

Break up the Line

A

No stiff, straight lines onstage.

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10
Q

Eyeballing

A

Breakup eye contact between scene partners.

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11
Q

Touch the…

A

Scenery… props… costumes… touch the environment.

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12
Q

Living Memory

A

Load PROPS, COSTUMES, ENVIRONMENT with tokens of LIVING MEMORY.

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13
Q

Time Deadline

A

Give a deadline to complete a task, to create urgency.

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14
Q

Time Extension

A

Invoke an extension of time, to stretch a moment.

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15
Q

Get caught in the act

A

Engaging in private behavior. Caught by AUDIENCE or SCENE PARTNER.

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16
Q

Contrary Impulse

A

Consider OPPOSITE reaction before the one WRITTEN.

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17
Q

Just Say It

A

Say the line, remove the “acting”

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18
Q

Reverse Behavior

A

Play the reverse behavior that the text suggests.

19
Q

Lying

A

Be the best liar possible, subvert AUDIENCE EXPECTATION

20
Q

Leave Emotion Alone

A

Don’t TRY to feel anything.

21
Q

“Real” Thoughts

A

Allow REAL THOUGHTS, FEELINGS, and OBSERVATIONS play.

22
Q

Expect the opposite.

A

When approaching a SURPRISE or REVEAL, expect the stark, total opposite to stoke reaction.

23
Q

Basic What’s Going On?

A

Articulate the “what’s going on” in this scene in a simple, emotionless statement.

24
Q

Make it Hot

A

Choose an evocative, enrapt choice.

25
Q

Impulse Cue

A

Attach WANT to response to an earlier scene partner’s line, to make you WANT to talk sooner.

26
Q

Make it Unimportant

A

Choose few details, throw the rest away,

27
Q

Transformations

A

Reduce to simplest elements

28
Q

Scene Partner Objective

A

Determine the OBJECTIVE of the other, play the OPPOSITE OBJECTIVE.

29
Q

Get to It

A

Get to it as DIRECTLY and EFFICIENTLY as possible

30
Q

Physicalize your Intentions

A

How would I communicate this moment if I couldn’t speak.

31
Q

Softening Terms

A

Maybe, Kinda, Sorta, If you want…

32
Q

Self Similarities + Differences

A

Focus on the Differences, ignore the similarities.

33
Q

Conservative Reaction

A

Run away from conflict, avoid conflict, conservative law doesn’t allow for it.

34
Q

Suppress Animal Urges

A

Attempt to remain civilized, controlling primitive urges.

35
Q

Don’t let the neighbor hear

A

Keep arguments quiet, or at least try.

36
Q

Get it Over With

A

Try to get conflict over as quick as possible.

37
Q

Express Frustration

A

THROUGH the TEXT.

38
Q

Personal Habits

A

Beware of personal habits, physical idiosyncrasies. Relax, remove.

39
Q

Connect the ACTION Dots

A

Establish + Connect TEXT to series of actionable events.

40
Q

Follow Through

A

If INTERUPTED, return to the ORIGINAL TASK and FINISH.

41
Q

Stalling

A

Add activity to a STALL to give it reason and purpose.

42
Q

Face-Off

A

Don’t face off. Perform task.

43
Q

Easy or Difficult

A

Is what the character’s trying to say EASY or DIFFICULT

44
Q

Objective Flip Flop?

A

If the character seems to have TWO or MORE objectives in a scene, find ONE that makes sense and play THAT.

DIRECTING (2 decks)

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