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1. overall objective 2. Objective 3. Obstacle 4. Substitution 5. Inner object 6. Beat 7. Action 8. Moment before 9. Place 10. Fourth Wall 11. Doings 12. Inner monologue 13. Previous circumstances 14. Let it go |
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What your character wants throughout the entire script. main need that drives your character. a primal goal: Love, sex, validation |
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What your character wants over the course of the entire scene. Must require a response, be basic and primal you have to change the other to get what you want Most important acting tool, do BEFORE inner work |
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The emotional and physical hurdles that make it difficult to achieve your objective. Winning is only satisfying when there is a possibility of failure generates heat and stakes create the challenge |
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To endow the other actor in the scene with a person from your real life that you need you need your objective from. makes interplay richer and more emtional. look for familiarities doesn't need to be literal don't use in seduction scenes |
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The thoughts you would think when speaking, or hearing, about a person, place, thing or event. We listen in pictures pictures from your substitution Other actors words require inner objects-emotionally duplucate the picture (choose affecting pictures) |
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A thought change (only when a change in thought can be one sentence or a page) |
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Mini-objectives that are attached to each beat. make the scene have variation and diversity. to get a reaction/affect the other must support scene's objective MUST BE ACTIVE try different things can also be physical as well as verbal nothing is ever a throwaway |
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The event that happens before you begin the scene so you are coming from someplace. Both physically and emotionally. drive your objective. do NOT use something TOO present and painful. or something TOO far past that you already know the outcome |
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Creates a reality of being someplace real and private that has meaning, importance to you, in a way that will support your other tools. From your personal life. (should have inherent obstacles-not easy to be in) |
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Makes the place you're working in more private, separating the actors and the stage or set from the audience or camera and crew. helpful in highly charged sexual or emotional scenes |
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The act of doing things that produce behavior. give the actor a safe place to go, tells us more about the character's neurosis |
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The dialogue going on inside your mind that you don't speak aloud. Our minds continue to think even when we're not talking. especially when the stakes are high. Indicative of what you're REALLY thinking. Great actors always have a strong inner monologue |
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the history of the character that makes the character the kind of person he/she is. done through analyzation of the script. |
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don't think about the work you've done, allow it to be your foundation and naturally emerge through your acting. the more time you put into your work. the better you'll be |
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