fucking donnies class

Question 1

feedback

Answer 1

The information and sensation that one receives as the result
of an action

Question 2

feedforward

Answer 2

An outgoing energy that anticipates the necessity for action

Question 3

The Litmus Test

Answer 3

(Check list for the self)

a) What do we avoid?
b) What do we fall back to?
c) Unconscious patterns

Question 4

The Gray Zone

Answer 4

(where things are expected, safe, “The Comfort Zone”, etc.)

Question 5

To Do What You are Not Supposed to Do

Answer 5

AKA being stuck in your head while specifically trying to stay out of
it

Question 6

Soft Focus

Answer 6

Look at the surroundings and other people without a want/desire

Question 7

Extraordinary Listening

Answer 7

Artists must listen with the whole body/entire being without an
idea/expectation of the result.

Question 8

Ongoing Awareness of Others

Answer 8

Seen in unison work (like the jumping exercise)

Question 9

Surrender

Answer 9

a) Relieves the pressure to invent alone, to be interesting and force creativity.
b) Trust that something is there, other than our own ego or imagination, to catch us
c) Lets something occur rather than making it occur

Question 10

Possibility

Answer 10

No good, bad, right, or wrong - only possibility and choice

Question 11

Choice and Freedom

Answer 11

a) Leads to greater awareness, which leads to greater choice, which leads to greater freedom
b) The need to choose all the time fades away

Question 12

Growth

Answer 12

a) Becomes a personal gauge for own strengths and weaknesses
b) Discover how you are free and how you are inhibited
c) Recognizing own patterns and habits
d) Awareness

Question 13

Wholeness

Answer 13

a) Awakens all senses, clarifies how much and how often we live in our heads and see only visually.
b) Causes us to listen with the whole body

Question 14

Problem 3: “Want” and its Effect on Rehearsal Atmosphere and Production

Answer 14

a) “Want” implies right and wrong

b) Causes a hierarchical domination of one person rather than an agreed group collaboration

Question 15

3. How VIEWPOINTS FIXES the problem

Answer 15

Offers a way to collectively address the artistic questions (i.e. what is the theme? What it is vs. What is it) that come up during rehearsal

Question 16

Problem 2: Lack of Ongoing Actor Training

Answer 16

Training creates relationships, develops skill, and provides an opportunity for continued growth

Question 17

2. How VIEWPOINTS FIXES the problem

Answer 17

(1) Keeps artistic juices flowing
(2) Creates cohesive ensembles
(3) Allows individuals and groups to practice speaking the language of performance

Question 18

Problem 1: Americanization of the Stanislavsky System

Answer 18

2. Not good for theater acting
3. Seen when actors focus on the feel of it (when I feel it, the audience
   will). There is focus on the internal psychological response rather
   than on surroundings
4. When focusing on manufacturing an emotion and holding on to it,
   actors distance themselves from one another and from the audience

Question 19

1. How VIEWPOINTS FIXES the problem

Answer 19

a) Allows untamed feeling to arise from the actual physical, verbal and imaginative situation
b) Suggests fresh ways of making choices onstage and
generating action based on awareness of time and space, as well as psychology

Question 20

Topography

Answer 20

The landscape/floor pattern/design created in movement

through space

Question 21

Spatial Relationship

Answer 21

The distance between things (i.e. between bodies [one to one, one to many, many to many] or between the body to the architecture) and the expressive possibilities that come from it

Question 22

Architecture: Sound

Answer 22

Sound created by and from the architecture

Question 23

Architecture: Color

Answer 23

Creating movement off of colors in the space

Question 24

Architecture: Light

Answer 24

Sources of light in the room, the shadows, etc.

Question 25

Architecture: Texture

Answer 25

Whether the solid mass is wood, metal, fabric, etc.

Question 26

Architecture: Solid mass

Answer 26

Walls, floors, ceilings, furniture, windows, doors, etc.

Question 27

Architecture

Answer 27

The physical environment in which you/the actor are

working and how awareness of it affects movement

Question 28

Gesture

Answer 28

a) A movement involving a part(s) of the body
b) Shape with a beginning, middle, and end
c) Behavioral Gesture - Belongs to the physical world of human behavior seen
in everyday life

Question 29

Shape

Answer 29

a) The contour/outline the body/bodies makes in space
b) Broken down into lines, curves, or a combination of both
c) Can also be stationary or moving

Question 30

Tempo

Answer 30

The rate of speed at which movement occurs

Question 31

Duration

Answer 31

How long movement or a sequence of movements lasts

Question 32

Kinesthetic Response

Answer 32

a) A spontaneous reaction to motion occurring outside of
you/the performer; the timing in which you respond to it
b) The impulsive movement that occurs from stimulation of the senses

Question 33

Repetition

Answer 33

a) The repeating of something onstage/onset
b) Internal Repetition (1) Repeating a movement within your own body
c) External Repetition (1) Repeating the movement of something outside your
own body

Question 34

Physical

Answer 34

(1) Spatial Relationship
(2) Kinesthetic Response
(3) Shape
(4) Gesture
(5) Repetition
(6) Architecture
(7) Tempo
(8) Duration
(9) Topography/Floor Pattern

Question 35

Vocal

Answer 35

(1) Pitch
(2) Dynamic
(3) Acceleration/Deceleration
(4) Silence
(5) Timbre

Question 36

The Six Viewpoints

Answer 36

a) Space
b) Shape
c) Time
d) Emotion
e) Movement
f) Story