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| time & place of play or scene |
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| The invisible wall that separates the audience from the performer |
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| over all objective for the play ( Through- line) |
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| what the character is trying to achieve within a scene or monologue (GOAL) |
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| what a character hopes will happen in the best of all worlds and as a direct result of his actions ( directly tied to objective) |
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| what stands in the way of the objective (GOAL) |
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| what is done to get around or eliminate the obstacle in effort to achieve the objective |
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| a small" bit" of a monologue or scene held together by relation of tactic, or specific issue |
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| made up of several beats resulting in heightened emotion or tension |
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| made up of several builds resulting in the highest point of emotion or tension |
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| when a discovery of some kind takes place with in a scene or monologue that drastically changes the direction of that scene or monologue |
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| Breaking a monologue or scene down into beats builds tactics etc. and recording it within the text to aid in performance |
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| larger specific movements of actor to be made at specific times throughout a scene or monologue such as crossing from stage left to stage right & sitting . the 4 primary things that blocking helps to achieve other than visual interest/variety are 1) intention 2) relationship 3) characterization 4) focus |
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| Smaller movements on stage such as knitting or pouring tea etc. |
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| the primary words used within a sentence to communicate intended information |
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| unspoken dialogue that is added into a monologue by a performer that is a direct reflection of the unseen partner that the performer is supposed to be speaking to |
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| when a character reacts to a stimuli before it actually takes place |
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| when the performer is performing in relation to the ending of the scene or play instead of dealing with what is happening in the moment ( assume success ) |
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1) when a performer chooses to make performance choices that are opposite what might be expected. (opposition may also be in characterization or relationship) 2) when a performer may also choose to
play opposite tactics against one another to heighten a specific moment. i.e. to attack immediately following flattery etc. |
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| a reference to what has taken place in the world of the play immediately before the beginning of a scene or the entrance of a character, etc. |
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| include preceding circumstances along with setting, relationships, events and any other information that might have a direct bearing on any " Given" point within the play |
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| What specific thing has been said or done to cause you to respond at that very instant a monologue begins |
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| the need to accomplish an objective within a short period of time. Remember that there is a HUGE difference between a want and a need |
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| ability to picture or create from one's own experience |
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| ability to picture or create something without the benefit of previous experience |
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| ability to recreate a moment on stage with complete sensual life through the recollection of past experience ( connected to Magic If ) |
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| the ability to recreate a specific emotional state through recollection of a previous experience (connected to Magic If) |
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| the ability to honestly place oneself in the situation and circumstances of a character Through the use of Emotional recall, sense memory & imagination |
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| strength of character and performance that draws the audience to a performer |
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| a level of power given to a character through a myriad of circumstances Three tools to keep in mind in achieving status or strength are SIMPLICITY, FOCUS, &CONTROL |
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| the emotional or psychological distance that is made from the beginning of a piece to the end ( The growth or change that takes place) |
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| specifically and clearly communicating your needs or argument |
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| using the most positive methods one can, under the given circumstances, to achieve one's goals. In the end, violence may become the only option left thus making it positive |
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| to strip away extemporaneous movements both physically and psychologically in order get to the core of communication or action |
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| the misguided belief that the purpose of a performance is a form of therapy for the benefit of the actor. It is not. It 's purpose is to communicate the author's ideas, story, etc. to the audience, and the actor is only one tool that is used with in a production. |
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| the use of beats , builds, climax , change- motion, resolution with in a piece that give the performance dynamics ( things that effect rhythm, intensity, & direction) |
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| a realization that takes place on stage due to Information that was not available before |
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| a concept, need or emotion that can be related to by living things world wide |
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| The character's inner dialogue or thought process at any given point ***not necessarily the same as what they might be saying or doing , ( what lies beneath the surface) |
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| heightening your choices in order to draw audience Attention to you as an actor at the expense of the play And of fellow actors |
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| 3 techniques to get the most mileage out of dialogue (other than operative words) are Visualize, Physicalize, & Structural embellishment |
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| demonstration of an emotion or thought rather than living or experiencing that thought or emotion |
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| what will be lost or gained by your success or failure to achieve a given goal or objective |
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