Quiz 1 Flashcards
Upstage Right
Further from the audience and on the actor’s right
Upstage left
Further from the audience and on the actor’s left
Upstage Center
Further from the audience and on the actor’s center
Centerstage right
Middle the audience and on the actor’s right
Center
Middle the audience and on the actor’s middle
Centerstage left
Middle the audience and on the actor’s left
Downstage Right
Closest to the audience and on the actor’s right
Downstage center
Closest to the audience and on the actor’s middle
Downstage left
Closest to the audience and on the actor’s left
Blocking
Movement of actors onstage, created by the actor, or set by a director
Vocal Projection
Amplifying your voice so that it reaches the audience
“Cheating out”
An expression that means to keep your body physically open/visible to the audience
“Upstaging” or “Pulling Focus”
Diverting the attention away from another actor towards oneself
“Breaking the fourth wall”
The fourth wall refers to the imaginal wall between actors and the audience. When an actor addresses the audience directly, they are “breaking the fourth wall”
Actors are _____. Their job is to interpret a writer’s script to entertain or inform an audience
storytellers
The “Magic If”
The question every actor must ask themselves before they begin their acting work: “What would I do if I were in these circumstances? How would I act?”
Acting is not memorizing and reciting lines, it is creating a
complete living breathing charater
Actors must have the ability to recreate
experiences within themselves and the ability to express those experiences without fear. Actors must commit
Actors make ____. Good actors explore a variety of vocal and physical choices using everything they know about their character from the playwright/screewriter
choices
Given circumstances
Set of environmental and situational conditions which influence the actions of a character. (Facts about the character often giving by the playwright, sometimes actors have to fill in these details for themselves)
The Moment Before/ The Moment After
What is happening to your character the moment before a scene starts or before they enter the scene? What happens after they leave the scene.
Commitment/Staying in Character
An actor must “buy in” to the circumstances of their character and accept them as their own. To “commit” in a scene means to have the courage to accept the given circumstances fully and to “stay present” in the scene for its duration
Subtext
The underlying message being conveyed by a line of dialogue. For example, the line “Great haircut, Joan!” could have many different meanings. It is an actor’s job to interpret meaning by gathering clues from the script about their character
“Raising the stakes” of the scene
Plays contain big thoughts and feelings. When a director asks an actor to “raise the stakes” she is asking the actor to make the situation more important or for them to create a sense of urgency. “I have to get Romeo to fall in love with me right now!”
“Doing” Vs. “Showing”
To act means to do. Good actors do what they are doing. They don’t show us (the audience) that they are doing it. They just do it. For example, if a character is sweeping a floor, the actor really has to sweep with the goal of getting the dirt up rather than just moving the broom to show the audience that sweeping is happening
Like it’s the First Time
Although actors spend countless hours in rehearsal, they have to make each moment of the scene/play appear like they are doing it for the first time
Observing and Listening
Being present and listening is incredibly important. In life, we can tell when someone is present and available to us, and the same is true on stage. As an actor it is your job to really hear not just what your fellow actors are saying, but how they are saying it. How are they treating you?
Discoveries
Pieces of info your character learns in a scene that they did not already know
Reversals
When an action produces the opposite of what is desired or expected. i.e. I walk into a room expecting to see my friend and instead there’s a full-blown surprise party for me
GOTE
Goal, obstacle, tactics, and expectations
Goal
What is your character’s principal quest? What is their desire? Goals should be specific and include a strong verb (i.e. “I want to marry Juliet at any cost.”) Sometimes referred to as an objective or motivation. There are super-objectives (for the entire play) and there are mini-objectives (for individual scenes)
Obstacle
What stops your character from achieving their goal?
Tactics
Refers to the methods used to achieve goals. When actors name tactics they should include verbs. I am going to “seduce Juliet” “to convince the nurse to be on my side” “to stand up for Juliet’s parents” “to plot with Friar Lawrence” Strong tactics creat strong characters who are fighting for something. Interesting to watch
Expectation
This helps the actor with their imaginary inner life. What will your character do when they get what they want? What would it mean to them? Actors should always believe as if they can succeed in reaching their goals
Emotion is the “sweat” of action
Good actors focus on goals or tasks that their character needs to complete. Emotions will often arise, but they are a byproduct and should not be the focus. (Think of the partner exercises you did “when you need something from your partner your focus should be on trying to get what you need rather than focusing on “being upset” - even though you trying to get what you need may result in you becoming upset, if your partner isn’t cooperating)
Konstantine Stanislavski
The Russian acting teacher and director who created “The Stanislavski System” or “The Method.” The major component of the method is that an actor should search for inner motives to justify an action that helps their character complete a task or reach a goal. Stanislavski’s goal was to create a style of acting that was more realistic
Beats
Small unit of action in a scene or play (i.e. you can break a monologue down into “beats.” You know a new beat starts when a new tactic happens or the scene changes
Beat
How a playwright indicates that actors should take a brief pause
Substitution technique
When an actor uses moments from their own life to make their character’s given circumstances more real for themselves.
Narrative Monologues
Where the character tells a story. Doesn’t typically involve the person they are talking to
Active monologues
Where the character has a goal or something they hope to accomplish. It involves the person they are talking to
Where do I look: Monologue
Over the heads of the auditor/audience not directly at them. Also, avoid playing to the corner or sides of the theater or audition room
Where do I stand? Can I sit?: Monologue
Be careful of placing yourself too close to the audience - center stage is usually best. You can sit, but avoid sitting for the entire piece
Make specific physical, vocal, and acting choices: Monologue
Do not leave these choices to chance - this is how you avoid sameness throughout the piece
Know the lines backwards and forwards: Monologue
Stay away from accents
Avoid fidgeting or wandery movements: Monologue
They show the actors rather than the character. Steps back weaken the character
What happened in the moment before
right before the piece starts?
How are you being received?: Monologue
The character (person) you are talking to is the most important element in the room. React to how they are treating you. You need something from them. How does what they do affect what you are doing?
You introduction shows the auditors/audience your personality: Monologue
Make sure you are friendly and yourself
Commit to the piece: Monologue
Stakes are usually high in a good monologue. Make sure that you are fighting for something and really try to get what you need by saying what you have to say
Does your piece build or have an arc?: Monologue
You should finish in a different place than you started. Auditors want to see an actor’s range and that an actor can make choices.
