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Terms in this set (96)
to extemporize stage business or conversation
who and what are on stage business or conversation
the area behind the part of the stage that is not visible to the audience
an acting role with very few lines
getting behind furniture or other actors so that you cannot be seen by the audience
building a scene
using dramatic devices such as increased tempo, volume, and emphasis to bring a scene to a climax
any specific action other than movement preformed on the stage, such as picking up a book or turning on a TV
the symbol used to identify the center of the stage
a shifting of position by two or more actors to balance the stage picture
the movement by an actor from one location to another on stage
the last words, actions, or technical effect the immediately precedes any line or business, a stage picture
the curtain or drapery that shits off the stage from the audience; when written in all capital letters in a script, it indicates that the curtain is to be closed
to stop action or omit
to break into the speech of another character
the part of the stage toward the audience
to leave the stage
properties such as letters or luggage, carried on stage by an individual player
to emphasize a word or line with extra force
holding for laughs
waiting for there audience to quiet down after a funny in line or scene
left and right
terms used to refer to the stage from the actor's point of view. not that of the audience
to draw the maximum response from the audience from comic lines or action
off the visible stage
on the visible stage
to speak when someone else is speaking
the movement or sweep of the play as it progresses
small props that are usually carried in an actor's costume, such as money, matches, a pipe or a pen
the positions of the actors at the opening of an act or scene
the scenery for an act or a scene
a sense if theater and the ability to present oneself effectively to the audience; stage charisma
stealing a scene
attracting the attention from the person to . whom the center interest legitimately belongs
character interpretations which are not in a script but are supplied by the actor
taking the stage
giving an actor the freedom to move over the entire stage area, usually during a lengthy speech
the speed at which the action of a play moves along
the execution of a line or piece of business at a specific moment to achieve the most telling effect
the area of the stage away from the audience, toward the rear of the stage
improperly taking attention from an actor who should be the focus of interest
a small acting part which as no lines
this is one of the two major approaches to acting, the actors play their parts in such a way that they suffer, or struggle emotionally in front of the audience. they can become the parts they play and experience all that their characters experience.
technical or objective acting
this is one of the two major approaches to acting. performance is based upon the perfecting of acting technique. In this approach, the actor analyzes the play's structure and the personalities of the characters.
a playwright brings out the plays theme through this, this is a principal to the play along with supporting roles
this person must solve the problem that arises in the play, or go down to defeat in the conflict
this person may be a pure villain or the gods or fate or any other force that opposes the goals of the protagonist
the young romantic male lead between the ages of 16 and 30
the young romantic female lead
if they are not casted in leading roles they are casted in this. the challenge of these roles lies in the type of person to be portrayed, not in how long or short the part may be. one of the most important one of these if a foil. along with the leading role this is a keep principal
are people of any age, usually resemble in appearance and personality the persons that the playwright had in mind
cast by type
is a person that fits the characters appearance and personality, that they playwright had in mind
almost always include some eccentric trait. It may be physical, psychologically, or mental. these parts demand a high degree of ability to play hem well. Such roles rarely resemble their actors in either appearance or personality .
the actor is continually cast as the same character like in different plays or films
actors grasps the fundamental personality of a part, and is convincing the audience... as an actor it is your responsibility to increase knowledge of lives and emotions of real people.
in order to sustain emotion while the voice and body are still
colors and characterizes the work of every distinguished dramatic artist.
surprises and delights
studying the play
study the play carefully: read the entire script to bring out the authors theme and purpose, identify the protagonists main problems, setting, type of each speech, and structure of plot... know what your character wants and what stands in the way of what your character wants.
if the setting of the play is unfamiliar, study the place and historical period.. learn from books. other people etc... maybe talk to other people with the same accent.
brief biography of your character to supply info not in the script. pay attention to what the author says about the character in stage directions, look at what character lines reveal, what other characters say, and how other characters respond to yours. (pg. 103)
Building up your part
2 stages: FIRST stage begins when the director gives cast his view of play, then as you study the play you develop your own concept of the part.. SECOND stage begins as you go to rehearsals with entire cast, and character developed... once settled you grow into it.
(physical acting) Body language
nonverbal communication without the use of words
Master leading gesture
distinctive action that is repeated and will serve as a clue to a characters personality Ex: a peculiar walk or laugh
entrances and exits
because these introduce your character into a scene, you must prepare for them long before you come one stage. plan exactly how you wish to appear. Always leave the stage with a definite place to go. keep in character until you are completely out of sight
you will recall that a movement from one stage position to another is called this. in general, actors usually move in curving patterns that resemble an "S". sometimes a movement is agitated of urgent a straight this is necessary. the curved pattern always allows actors to open to the audience. it also suggests the stage space, which in reality is about one and a half times as large as the actual space
the counter cross
a movement in an opposite direction by another character
sitting and rising
must be done natural and effectively, "learning how to sit"
stage positions and movements
this is very important, because the audience sees both before the actors say a single words. how the actors move and how they are put . n stage allows the audience to grasp the spirit of a situation before the lines are spoken
share a scene
when an actor shares a scene with another actor when you stand or sit parallel to each other
giving the scene
audiences attention ian shifted from one actor to another. one acto crosses downstage and then turns slightly upstage toward other actor.
turning the scene in
audiences attention is on actor who is the center of dramatic action. characters whom arent key in scene shift their bodies mire upstage and look directly at the key character.
taking yourself out of a scene
actor turns away from audience into a 3/4 back or full back position. might be looking through window etc.
using hand props, costumes props, stage props, other actors and even part of set. have to handle props right and make it look real
(keys to characterization).. internalization
actor gets within the character and learns what the character is in deep inside by studying the play, director insights etc, then the actor can react to any given situation.
true personality of the character is visible to the audience by nonverbal expression, voice quality, pitch, rate, and physical action.
ability to direct all thoughts, energies and skills into what you are doing in a single moment. lines run smoothly, and sustain concentration.
observe people carefully, note how they communicate emotions: how they use their facials, physical characteristics, unique voice and diction patterns.
5. emotional memory
recalling of specific emotion that you have experienced or observed. As an actor, you draw on emotional memories to give life to the character you play.
how loud you are being, and "reaching out" to the back of the audience
the character moves with purpose
8. stretching a character
process of making a role unique.. the character is noticeably different from the other characters in the play, the actors goal is to identify the characters primary personality trait.
physical energy produces the freshness, sparkle and spontaneity that theatre depends on but have to control amount of energy used throughout play.
directs actors attention, action, emotion or line delivery to a definite target. by stressing particular lines, gestures etc. the author focuses audience attention on key ideas of theme, plot or characterization
character has to be unique in their role, and not a copy of someone else. shape a special personality
lines must be learned according to directors schedule to concentrate on action.
actor reads whole play several times, and focuses on individual lines only after whole units of the play are firmly in mind developing internal feel for play.
actor studies cues and lines line by line until script is memorized
forgetting what you know
when play is studied and rehearsed over again, you should know things that your character wouldn't really know. to create illusion of reality in convincing manner you have to "remember to forget" all those things.
playing the moment
respond to each line, action and each character in the present time. EX: Don't turn to phone before it rings
although a actor will not give away a characters future actions , they will find ways of making characters future action believable.
identifying with a situation or of experiencing the natural emotions of a role.
filling in the blanks
scripts include incomplete lines or telephone conversations, and must be handled correctly with precise timing.
lines interrupted by another speaker.
speaking lines communicate playwright should meaning and style, and reveal a character and their emotion.
picking up cues
cues should be memorized along with lines. our face should respond during others lines, and be ready to speak on cue.
cast must establish comic mood. must always communicate enjoyment, techniques like lift end of a punch line, and leave it hanging or play it flat or deadpan, in order say to the audience "laugh now"
audience starts laughing then increases assault others join in until peak isn't reached, then will fade and linger and the actor will "cut in" to kill laughter.
acting in the round and thrust
there's an open stage completely surrounded by seats. staging plays in the round demands careful planning and rehearsal. everything must be arranged perfectly. actors should move in curves and s patterns.
can e either a slight or an exaggerated moment, depending upon the character and the style of the play.
speaker trails off because they do not finish the line.. sometimes happen because speaker expects interruption that doesn't come.