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25 terms

Ch 4 quiz 4

STUDY
PLAY
rising inflection
the use of the voice to indicate questioning, surprise, or shock
falling inflection
the use of the voice to signal the end of the statement, depression, finality, or firmness
sustained inflection
the use of the voice to suggest calmness, decisiveness; staying on the same note
circumflex inflection
the use of the voice to blend two or three sounds for a vowel that normally has a single sound, allowing the actor to stress or change a word's meaning
substitution
the use by an actor of a personal experience to relate to the experience of a character within a play
cut off lines
line interrupted by another speaker and indicated in the script by dashes
cut in lines
to break into the speech of another character
fade off lines
lines that actors trail off rather than finishing
pointing lines
emphasizing a particular idea throughout the presentation of lines
paraphrasing
restating lines in one's own words
laugh curve
the audience's reaction that actors listen for in order to anticipate the length of time the audience will laugh
internalizing
when an actor gets within a character to learn what the character is like
externalizing
when an actor shows the audience a character's true personality through interpretation, nonverbal expression, voice quality, pitch, rate, and physical action
concentrating
the ability to direct all thoughts, energies, and skills toward of given goal
observing
the careful noting of people's emotions, physical characteristics, and voice and direction patterns from which characters are modeled
emotional memory
the recalling of specific emotions, such as fear, joy, or anger
used in developing character
projecting
controlling the volume and quality of the voice do that it cane heard clearly by everyone
motivation
the reason behind a character's behavior
stretching a character
making a role unique, individual, or interesting
consistent inconsistency
trait of a character an actor chooses to emphasize, such as dialect
playing the conditions
interpreting characters with the help of elements such as time, place, weather, objects, and the state of the individual
playing the objectives
using all the methods, including physical or mental acts or objects, to reach the goals of characters
playing the obstacles
facing each crisis or obstacle that stands in the way of an objective of a character
playing the object
using objects, such as a phone or fork, to project character
energy
the fuel that drives acting, enlivens performances, creates empathy, and makes powerful characters