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21 Cards in this Set
- Front
- Back
objective |
the want we do not talk or move without motivation |
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obstacle |
the thing that stands in the way of the objective without a conflict, there is no show |
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tactic |
how you get around the obstacle variety |
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beats |
changes in intention, unit of action real, honest, everywhere in life |
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stakes |
degree to which we want to find our objective LIFE/DEATH |
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risk |
shoe exercise makes it interesting |
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view points |
External approach to acting tempo, shape, repetition, kinesthetic response, architecture |
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Ann Bogart |
view points director who search for an easier way to teach acting to nontrained people |
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Stanislavski |
Russian theatre director and theorist internal approach to acting magic if, emotional recall, through line of action, affect your partner, given circumstances |
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Uta Hagen |
-actor and director -updated and simplified Stanislavski in terms for actors -find yourself in the character -the moment before -endowment -telephone exercise |
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the moment before |
respond to what happens before the scene technically starts |
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magic if |
imagination how would you respond within the given circumstances |
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emotional recall |
-be emotionally aware of yourself -remember how you felt in similar situations -break down situations and emotions to their root and connect |
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affect your partner |
-your objective is to get something from somebody -make them respond and feel |
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given circumstances |
who? what? when? where? why? |
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Viola Spolin |
improvisation offer and response "yes and" |
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offer and response |
adding information like rungs of a ladder |
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"yes and" |
agree. always. do not argue accept the premise you are given by your partner trust |
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mind's eye |
what you picture in your head really see it |
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expectation |
determines how you react to a particular stimuli |
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object of attention |
stage business what you do when you aren't doing anything |