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1) Acquiring the many skills (physical & vocal) the stage demands 2) To make characters believable 3) To integrate skills with credibility |
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to throw one's voice into the audience so that it reaches to furthest areas of the theater. |
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where all the lines of force of the body come together. Becoming "centered" for actors means they achieve a balance, a freedom, a flexibilty otherwise unattainable. |
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a type of drama that closely resembles what people could identify with and verify from their own experiences. |
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acting method developed by Russian actor/director Konstantin Stanislavski. Stressed "reeducation" of all normal human activities performed before an audience. |
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Relaxation (Stanislavski Technique) |
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actors must release excess tension & the performer must achieve a state of physical & vocal relaxation. |
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Concentration (Stanislavski Technique) |
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performers concentrate fully on some object, person, or event. The item is within their circle of attention. |
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Importance of Specifics (Stanislavski Technique) |
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emphasis on concrete details. Performers must focus their emotions on specific objects i.e. nervous jangling of keys. |
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Inner Truth (Stanislavski Technique) |
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imagining the inner life, thoughts, and emotions of a character and bringing them to the stage. |
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Magic If (Stanislavski Term) |
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the word "if" can transform our thoughts, allowing us to imagine all things possible, thus allowing one to enter into the world of a character. |
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Through Line/Superobjective (Stanislavski Term) |
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a character's driving force in a play; what a character wants during the course of the play. |
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all actors on stage performing together to create a cohesive scene. |
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a tool used to help performers achieve a sense of emotional truth onstage through recollection of past memories in sync with those demanded by the script. |
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