Chap. 5 Acting Vocab. 31-60

Front 1

internalizing

Back 1

getting with a character to learn what the character is like

Front 2

externalization

Back 2

when an actor shows the audience a character's true personality through interpretation, nonverbal expression, voice quality, pitch, rate, and physical action

Front 3

concentration

Back 3

the ability to direct all thoughts, energies, and skills toward a given goal

Front 4

observation

Back 4

the noting carefully of people's emotions, physical characteristics, and voice and diction patterns from which characters are modeled

Front 5

emotional memory

Back 5

recalling specific emotions, such as fear, joy, or anger

Front 6

projection

Back 6

controlling the voice's volume and quality so that it can be heard clearly

Front 7

motivation

Back 7

the reason behind a character's behavior

Front 8

intent

Back 8

inner force driving the character's behavior

Front 9

stretching a character

Back 9

making a role unique, individual, and interesting

Front 10

inconsistent consistency

Back 10

the trait of a character that an actor chooses to emphasize such as a dialect

Front 11

playing the conditions

Back 11

the elements of time, place, weather, objects, and the state of the individual that help actors to interpret their characters

Front 12

playing the objectives

Back 12

methods used by characters to reach goals

Front 13

playing the obstacles

Back 13

the ways a character faces each crisis or obstacle

Front 14

energy

Back 14

the fuel that drives acting, enlivens performances, creates empathy, and makes forceful characters

Front 15

focus

Back 15

the direction of an actor's attention, action, emotion, or line delivery to a definite target

Front 16

uniqueness

Back 16

the actor's ability to shape a character's personality into itself and not make it a copy of someone else's portrayel

Front 17

subtext

Back 17

character interpretations which are not in a script but are supplied by an actor

Front 18

memorizing

Back 18

commiting the lines of a script to memory

Front 19

whole-part memorization

Back 19

commiting the memory individual lines of a script after whole units of the play have been read several times

Front 20

part-whole memorization

Back 20

studying cues or lines of script line-by-line until commited to memory

Front 21

playing the moment

Back 21

responding to each line, action, and character in the permanent present, such as an actor not opening a door before the knock

Front 22

working backwards

Back 22

a technique in which an actor prepares the audience for what a character will do later

Front 23

paraphrasing

Back 23

restating lines in your own words

Front 24

substitution

Back 24

the use by an actor of a personal experience to relate the experience of a character within a play

Front 25

improvising

Back 25

performing without preparation

Front 26

cut-off lines

Back 26

lines interrupted by another speaker and indicated in the script by dashes

Front 27

fade-off lines

Back 27

lines that actors trail off because they do not finish them

Front 28

picking up of cues

Back 28

speaking immediately on the last word of the previous speaker for rapid speech, or attaching yor line to the former speech, with no space between

Front 29

laugh curve

Back 29

the audience's reaction that actors listen for in order to anticipate the length of the time the audience will laugh

Front 30

knap

Back 30

the second sound after landing a blow- a sliding, slapping, or clap