Theater 4

Which of the following is NOT one of the responsibilities of a performer in the theatre?

Acquiring the special physical and vocal skills that stage performance demands is an ________ aspect of acting.

Learning how to make the characters portrayed believable is an ________ aspect of acting.

In order to throw the voice into the audience so that it penetrates to the uttermost reaches of the theatre, the performer must

An enemy of credibility in a performance is

________ devised a system that could be taught to others for achieving the kind of believability demanded by the new realistic drama being written in the late nineteenth century.

In America, the interpretation of Stanislavsky's ideas by Lee Strasberg at the Actor's Studio has caused controversy, because many people feel that he emphasized

When the performers combine the inner and the outer aspects of acting in a forceful and convincing way, they have used a process known as

Regardless of the level of intellectual study and training, it is important for actors to prepare before taking the stage often through various exercises such as

Which of the following should an actor try to avoid if he or she is trying to connect meaningfully with the audience?

Which one of the following is NOT one of Stanislavsky's four broad aims of actor training?

When one person mimics or copies another's vocal patterns, gestures, facial expressions, posture, and the like, this is called

General roles recognized by society, such as father, mother, child, police officer, store clerk, teacher, student, business executive, and so on are called

When children use imitation, it is often a way of

Roles that we assume with our family and friends, such as being a braggart, a martyr, a conspirator, and so on, are called

In the scene from Death of a Salesman described and illustrated in the text, Happy uses ________ to impress a woman he sees in a restaurant.

One of the differences between acting in daily life and acting in theatre is that actors and actresses are always being

When a performer is required to play several roles in the same play, this is called

A performer in seventeenth-century France delivering a line with a flourish at the end in order to prompt the audience to applaud is an example of

Performers would often speak toward the audience during this period, rather than to the character they were addressing on stage, since the theatres were lit as well as the stage and the actors wanted hold on to the audience's attention.

Acting alternated between exaggerated and more natural styles in

David Garrick acted during which period?

________ had a chorus that sang and danced odes.

Molière commented on acting in The Impromptu of Versailles in which period?

Sometimes performers used a claptrap to provoke applause from the audience in which period?

Shakespeare commented on acting in Hamlet, in which period?

Performers wore heavily stylized make-up that was richly colored and textured in which period?

Actresses sometimes wore a silly smile, even in tragic scenes, in which period?

What does Shakespeare's Hamlet mean when he says the following? "Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue; but if you mouth it, as many of your players do, I had as lief the town crier spoke my lines."

What does Shakespeare's Hamlet mean when he says the following? "Be not too tame neither, but let your discretion be your tutor: suit the action to the word, the word to the action; with this special observance, that you o'erstep not the modesty of nature."

In order to prepare a role properly, the actor or actress should always begin with an outer aspect—a walk, a posture, a peculiar vocal delivery—and then develop the inner life of the character.

Even more contemporary actor training methods based on the books/teachings of Uta Hagen, Robert Cohen, Robert Benedetti, Sanford Meisner, and Stella Adler, to name a few, are still based on essential training methods introduced by Stanislavsky around the turn of the twentieth century.

Although it may be fun and exciting, circus training and clowning or juggling are not valuable forms of training for actors to use in their theatre work.

Training in tai chi chuan can be valuable for an actor, as it serves as an excellent focused exercise for an actor's body awareness and, due to the graceful nature of the core regimen of movement, it also serves as a form of meditation to help the actor prepare.

Asian theatre training and the type of actor training that is common in the U.S. are virtually the same kind of training, focusing on the same kind of movement and vocal performance styles.

Lee Strasberg, who headed the Actor's Studio training in New York City for many years, established a style of training known as emotional recall that particularly emphasized a technique for prompting actor emotions that was almost identical to the method that Stanislavsky used later in his career.

Although every actor needs to work on both inner and outer aspects of acting, it is best to develop all of the inner aspects of character development first that will allow the actor to more easily develop the physical movement and vocal aspects of the character.

Each of us fills only one social role.

Once a society determines the characteristics of a social role, these characteristics cannot be changed.

The eighteenth-century scholar who wrote the following quote about David Garrick's performance was actually saying exactly the same thing as Shakespeare's Hamlet did when he delivered his "Town crier" line. "Instead of declaiming the verse in a thunderous, measured chant, this actor [Garrick] spoke it with swift and 'natural' changes of tone and emphasis."

Throughout theatre history, regardless of the predominant acting style of the day, the actors that were singled out as being the greatest of their generation were always those actors who made certain to overemphasize their emotions with excessive physical movement.

François Delsarte's catalogued approach to gesture and emotion (seen frequently in the silent film era) was eventually discarded in favor of Konstantin Stanislavsky's more useful techniques in creating natural realistic performances.

The remembering of a past emotional experience in the performer's life that is similar to the emotion he or she must attain in the play is called ________.

Concentration on some object, person, or event while onstage is called ________.

The internal or subjective world of the characters is the ________.

The elimination of unwanted tension is called ________.

What the character wants above all else during the course of the play is the ________.

Imagining how the performer would feel in a particular situation is called the "________."

________ is especially important in plays where interaction between characters is crucial.