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31 Cards in this Set
- Front
- Back
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Magic if |
Acting tool invented by Stranislavski in which the actor asks what would I do if I were the character in this situation |
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Aside |
A character's brief remarks often witty delivered directly to the audience. Other characters on stage are presumed not to hear it it is a presentational technique that was most often used in comedies from the 16th to 19th century |
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Beat |
The section of script during which a single objective is played |
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Blocking |
The physical ingredients of Storytelling on stage including movement gestures and business |
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Cheating |
Angling the body slightly towards the audience while still presuming to face the character you are in conversation with |
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Cold reading |
An audition in which you are asked to read from a scene without having the opportunity to fully prepare |
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Cue |
In general the line preceding your own that cues you to speak |
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Fourth wall |
The imaginary separation between the characters on stage and the audience watching the production. The actual actors do not acknowledge the presence of the audience |
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Gestures |
A specific physical action that communicates and motion information or attitude |
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Given circumstances |
The who what when and where of a play |
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Inner monologue |
The subtext that an actor goes through while acting a role; the thoughts and feelings that may be as important to the role as the dialogue |
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Intention |
Another word for acting objective or action that an actor pursues while on stage |
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Monologue |
A sustained speech delivered by an actor without interruption, or a sustained speech delivered by an actor spoken without the physical presence of another actor |
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Motivation |
The reason a character pursues a particular super objective. The motivation cannot be played directly; rather, it can be used as a detective device to find the need |
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Objective |
The needs an actor playing a character pursues at all times while on stage |
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Obstacles |
Things in a scene or play that keep a character from fulfilling his or her objectives. They provide conflict and heighten the stakes of a situation by creating conflict and heightening the risk factor |
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Pace |
The speed at which you pick up your cue and deliver the next line of your dialogue |
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Sense memory |
The use of our strong powers of recall relating to smell sound taste touch as well as sight to enhance the emotional power of an acting moment or situation |
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Soliloquy |
A speech given directly to an audience, ordinarily with no one else on stage. It was common in ancient and Elizabethan drama and in modern drama as well. Usually played as a direct address to the audience, sometimes played as a character thinking aloud in the audience's presence |
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Stage left |
Self-explanatory |
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Stage right |
Self-explanatory |
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Stanislavsky, Konstantin |
The Russian theater director and actor and teacher who is responsible for the manor and technique in which acting craft is taught 1863-1938 Cofounder/director of the Moscow Art theatre in 1897 |
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Strasberg, Lee |
Austrian-born [but American] acting teacher and artistic director of The Actors Studio and developer of what came to be known as "method acting" and approach based on early writings of stanislavski |
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Subtext |
The meaning of a line of dialogue in terms of the acting objective being pursued |
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Super objective |
The overall need that an actor as the character pursues during the course of a play - stanislavski |
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Tactics |
The means by which a character seeks to achieve his or her goal. Tactics can be inductive or threatening |
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Throughline |
The combined series of actions that are mapped out in a script by an actor in working out his or her character's story Moment by moment, scene-by-scene |
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Upstage |
The opposite of downstage; the back part of a stage in proscenium theatre; the farthest part from the audience. Derives from the 18th century, when the stage was slanted (raked) toward the audience, with the rear of the stage higher than the front. |
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Upstaging |
To deliberately go up stage of an actor with whom you are sharing a scene, in order to make the actor face upstage to maintain the illusion of eye contact, or even a genuine conversation. Considered - if done for this purpose - selfish behavior worthy only of a prema donna |
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Back ground |
Info about the character, before and after |
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Moment before |
What happened before LOL |
