Section A - 30 Mark Question

Question 1

What 3 feature of performance should you include

Answer 1

• vocal
• movement
• interaction

Question 2

What should be in the introduction (5)

Answer 2

• context
• period of time
• style
• Stanislavski system and techniques
• subtext of monologue

Question 3

What does each paragraph have to have a comprehensive understanding of (5)

Answer 3

• motivation
• dialogue
• speech
• language
• the objective of the rehearsal techniques

Question 4

What should the conclusion have (2)

Answer 4

• link between rehearsal techniques and interpretation of the text
• summary of how the techniques benefit the actor

Question 5

One handed conversation

Answer 5

Actors hold a conversation using only the actions of one hand, therefore limiting the communication ability

This forces actors to draw on physical impulses

Question 6

Stanislavski emotion memory

Answer 6

The actor uses an emotion that once felt and applies it to how the character is feeling

Question 7

Units of motivation

Answer 7

The actor decides on the motive for each characters line, attempting to present that motivation within acting

Question 8

Magic if

Answer 8

The character should answer the question “what would I do if I was in the situation” this technique means that the actor puts themselves into the characters situation

Question 9

Hot seating

Answer 9

Actor must stay in character while being asked a series of questions which elaborate on life experiences - Create a more realistic character

Question 10

Le Coqs stick

Answer 10

A pan must hold either end of a meter stick and push/pull through space with it, this shows tension of characters through proxemics and attaches emotions to different movements

Question 11

7 levees of tension

Answer 11

The actors begin at level one working their way up to level 7 to explore the different ways of presenting a character – one equals exhausted, seven equals passionately tragic

Question 12

Choral line le coq

Answer 12

Two people stand in a line, the person at the back must whisper lines echoes by the person in front, the line gets longer. It helps establish character as chorus leader and help work as an ensemble

Question 13

Le coqs mask and neutrality

Answer 13

Actors wear a mask and at the Steine the loss of facial expressions will drive them to communicate meaning through physical movements

Question 14

Valley of giants le coq

Answer 14

Actor pretends he/she is a giant, interacting with others as if they were smaller, taking heavy steps and pushing/pulling with his body

Question 15

Unified walking pace

Answer 15

Actors walk around the room and stop without saying anything or any command; improves focus on establishes relationships with members in the group

Also good for chorus work

Question 16

Bigger and bigger

Answer 16

Playing a character with huge emotion; each time bigger is commanded, the actor must respond by exaggerating more and more

Question 17

Artaud impossible task

Answer 17

Actors also just a task which they believe is impossible, and are pushed to extreme limits in order to try to complete that task

Question 18

Colombian hypnosis Boal

Answer 18

Actors power up, and one actor becomes hypnotised by the others hand following around. This allows actors to manipulate one another

Question 19

Artauds non-language argument

Answer 19

Actors argue in a series of noises such as grunts and shouts but still portraying emotion, using universal language