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Based off of Constantine Stanislavski's acting method
Terms in this set (43)
The invisible wall that separates the audience from the performer
Time & place of play or scene
The objective for the whole play (Through- line)
What the character is trying to achieve within a scene or monologue (GOAL)
What a character hopes will happen in the best of all worlds and as a direct result of his actions ( directly tied to objective)
what stands in the way of the objective (GOAL)
What is done to get around or eliminate the obstacle in effort to achieve the objective
A small" bit" of a monologue or scene held together by relation of tactic, or specific issue
Made up of several beats resulting in heightened emotion or tension
Made up of several builds resulting in the highest point of emotion or tension
When a huge discovery takes place within a scene or monologue that drastically changes the direction of that scene or monologue, possibly changing the Objective as well
SCORING A SCRIPT
Breaking a monologue or scene down into beats, builds, tactics etc. and recording it within the text to orchestrate a performance
Larger specific movements of actor to be made at specific times throughout a scene or monologue such as crossing from stage left to stage right & sitting. The 4 primary things that blocking helps to achieve other than visual interest/variety are 1) intention 2) relationship 3) characterization 4) focus
Smaller movements on stage such as knitting or pouring tea etc
The primary words within a sentence that are used to communicate the vital information
A monologue is given the conversational give and take feel of a scene by building in a specific spoken or unspoken response to the character's spoken dialogue
When a character responds to something before it has actually happened.
PLAYING THE ENDING
When the performer is performing in relation to the outcome of the scene or play instead of dealing with what is happening in the moment. ( broader version of anticipation)
When a performer chooses to make performance choices that are opposite what might be expected. (opposition may also be in characterization or relationship)
When a performer chooses to play opposite tactics against one another to heighten a specific moment. i.e. to attack immediately following to flatter etc.
a reference to what has taken place in the world of the play immediately before the beginning of a scene or the entrance of a character, etc.
The situation or circumstances surrounding a Scene or monologue or play
The specific thing has been said or done to cause you to speak the first line of your scene or monologue.
The need to accomplish an objective within a short period of time. (get it here and now!)
The ability to picture or create from one's own experience
The ability to picture or create something without the benefit of previous experience.
The ability to recreate a truthful and complete experience or moment on stage through the use and memory of your body's senses.
The ability to recreate a truthful and complete experience or moment on stage through the state through recollection and use of of a previous emotionally charged experience (connected to Magic If)
The ability to honestly place oneself in the situation and circumstances of a character Through the use of Emotional recall, sense memory & imagination
Strength of character and performance that draws the audience's attention to a performer.
A level of power given to a character through a myriad of circumstances Three tools to keep in mind in achieving status or strength are: SIMPLICITY, FOCUS, & CONTROL.
The emotional or psychological growth or arc that is made from the beginning to the end of a piece. The changes from beg to end.
MAKING YOUR POINTS
Specifically and clearly communicating your needs or argument through strong use of your language.
PLAYING THE POSITIVE
Using the most positive methods one can, under the given circumstances, to achieve one's goals. In the end, violence may become the only option left thus making it positive
To strip away extemporaneous movements both physically and psychologically, in order get to the core of communication or action
When a performer makes choices that serve his or her own personal desires and ego rather than that of the character or the play.
The use of beats, builds, climax, change- motion, resolution with in a piece that give the performance dynamics (things that effect rhythm, intensity, volume & direction)
An important realization that takes place on stage due to information that was not available before. This gives a performance progression and spontaneity.
A concept, need or emotion that can be related to by living things world wide.
The character's inner dialogue or thought process at any given point
not necessarily the same as what they might be saying or doing. The intent beneath the dialogue's surface
Over playing your choices in order to draw audience attention to you, at the expense of the play and of fellow actors.
Three techniques used to get the most mileage out of dialogue (other than operative words) are Visualize, Physicalize, & Structural embellishment
Demonstration of an emotion or thought, or action rather than truthfully experiencing or working your way through that thought, action or emotion
What will be lost or gained by your success or failure in achieving a given goal or objective
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