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34 Cards in this Set
- Front
- Back
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Acting
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Living truthfully under imaginary circumstances
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9 Requirements of a Good Action
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1. Must be physically capable of being done
2. Be fun to do 3. Be specific 4. Have its test in the other person 5. Not be an errand 6. Not presuppose any physical or emotional state 7. Not be manipulative 8. Have a cap 9. Be in line with the intentions of the playwright |
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1. Must Be Physically Capable of Being Done
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Something you can do on stage
ex: "Plead for help" not "Pursue the American Dream" |
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2. Must Be Fun to do
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Things on stage must be truly compelling to you but appeal to your sense of play
Utilize language to spice it up ex: "Spilling the beans" vs "Giving info" |
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3. Must Be Specific
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Cannot be general
Stanislavsky: "Generality is the enemy of all art" ex: "Extract what time the dance" no "Find something out" |
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4. Have Its Test in The Other Person
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Specific goal must have to do with the other person/people on stage
You should be able to tell how close you are to completing an action by looking at your partner |
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5. Cannot Be an Errand
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Errand: action that has no test in the other person
Must be possible to fail an action Errands are completed too quickly and easily Need to pick an action that gives you something to do the whole scene ex: delivering a message=errand |
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6. Cannot Presuppose Any Physical or Emotional State
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Must act truthfully, cannot lie into physical or emotional state
No such thing as a correct emotion ex: do not assume you are angry bad: "Making a jerk know how mad I am" good: "PUtting a jerk in his place" |
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7. Not be manipulative
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Cannot decide how a scene is going to go beforehand
Cannot force people to do things/emotions Cannot choose desired affect on partner Ex: bad: "make someone cry" = manipulative good: "force friends to face facts" |
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8. Have a Cap
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Cap: specific thing that will tell you that you have succeeded in your action
Must be able to tell by looking at the other person Must have a cap to work towards even if you don't achieve it ex: bad: "maintaining someones interest" good: "get a friends forgiveness" |
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9. Be In Line With The Intentions of The Playwright
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Very important
Understood via scene analysis ex: return from a threatening trip: action should not be "put someone in their place" it should be "assuring a loved one support" |
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Action
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(Verb)
Determine how the characters go about getting what they want Physical pursuance of a goal |
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Blocking Code
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Stage directions
UpR UpCenter UpL CenterR Center CenterL DownR DownCenter DownL \l/ Audience |
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Climax/Point of No Return
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Where the major conflict reaches its fulfillment
May be a single moment or the entire scene |
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Denouement
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Declining action/Resolution
What happens after the climax-conclusion of the play Usually brief Unsolved questions are answered |
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Externals
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A physical adjustment made by the actor that either aids in the telling of the story or illustrates an imaginary circumstance of the play
1. Bodily Adjustments (posture, voice, handicaps) ex: german accent 2. Ornaments (costumes and makeup) ex: wearing a humpback 3. Physical States (drunkness, exhaustion, illness, hot vs cold) ex: pulling a jacket in=cold |
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Given Circumstances
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Who, What, When, Where, Why
All information about a scene that makes it a scene Info character brings to each scene which influences needs, actions, wants, relationships |
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Inciting Incident
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Specific event which sets the conflict of the play in motion
Generally happens shortly after the play begins or just before it starts ex: Romeo and Juliet: when couple first sees each other |
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Konstantin Stanislavsky
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Emotions should come with your actions and you should be truthful
Started the Magic If Completely changed acting and how it is taught now |
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Magic If
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Memory device- spark to invest fully in the scene
Imagination in the given circumstances Combine characters circumstances with soemthing you've experienced Simple fantasy to make actions specific to you Device to bring action to life in you 1. Action 2. As If.... What is the character literally doing? What is the essential action of what the character is doing in this scene? Compare that action to something you can relate to |
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Analyze a Scene
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*Magic If
1) What is the character literally doing? -Coming home to his wife 2) What is the essential action of what the character is doing in the scene? -Planning to make a loved one feel like a million bucks 3) What is the action like to me? -As if I'm going to see my grandpa to take him out on the town for his 75th birthday |
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Objective
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(Noun)
What the character wants at any given moment of the play Pulls them through the scene and keeps them engaged |
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Obstacle
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What inhibits the character from getting what they want
Creates conflict What deters actions or tactics? What is against me? What is in the way of what I want? Who is against me? Actions best chosen after you know the conflict Beats continue until met with obstacles ex: yes/no scenes |
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Rising Action
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Conflict
Continual build of action to the climax Can be advances and reversals, but always have a steady build |
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Sense Memory
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Recall memories of physical sensations of prior emotions to utilize emotional memory
Recalling sensual experience (sight, sound, smell, taste, touch) to evoke an emotional reaction appropriate to a moment in a scene ex: sound of waves makes me calm |
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State of Being
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The status of your character-feelings, disabilities, etc.
How to speak, move, and behave on an unconscious impulse through emotional, physical, mental, and spiritual conditions Strasberg |
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Super Objective
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What a character wants out of life, work, relationships
Overall need during the play |
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Tactics
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What the action is accomplished
Actions don't change but tactics do Ways to go about executing that action ex: to get a new room: beg, threaten |
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Through-line of Action
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Connected to superobjective- what the character is trying to do throughout the entirety of the play
Overriding action encompassing all actions an actor pursues from scene to scene, beginning to end More encompassing than an action |
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Cap
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The event or condition indicating that an actor has succeeded in doing his action
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Beat Change
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Point in a scene where a new action occurs
-New piece of information is introduced -New character enters, begins a new approach, or gets a new idea -Subject matter of the text changes -After a climax has been reached -Event takes place which the character has no control and by its very nature must change what the actor is doing |
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Beat
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Single unit of action
A period of time in which one momentary objective is consistent |
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GOAT
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Given Circumstances
Objective Actions Tactics |
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Preparing For a Scene
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Most effective way to prepare: go over analysis
Approach action by starting with the As If... Prepare for entrance: talk over As If and state your action -Do something compelling and fun -Use As If and test multiple tactics so the scene does not become boring |
