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30 Cards in this Set
- Front
- Back
Centering |
The ability to quickly regain optimum use of our resources |
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Centering biological facts about animal life 1-4 |
1. Locomotion and breathing evolved together in a reciprocal relationship. 2.body rhythms must work in harmony for optimum function 3. Pulse and respiration act sametime to physical and emotional or intellectual impulse. 4. Changes in movement and respiration create intellectual and emotional changes. 5. Finely tuned internal communications exists in the body relaying signals impulses through body center. |
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Kinesthetic awareness |
Our perception of the relationship of our muscles and bones. It enables us to know our thoughts and feelings as they are expressed by the body |
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Concept of center |
Reflects the belief that the body is capable of achieving an economical and efficient use of its own energy through an integration of physical and emotional and intellectual activity. |
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Relaxation |
The first step in kinsethic awareness. More readily sense the workings of your balance between relaxation and tension. |
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Alignment |
Refers to the balanced arrangement of skeletal structure that enables it to efficiently counteract the force of gravity. (Balance is key) free muscles from doing the work of the bones. |
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Neutral |
When the body enters a state of integrated readiness for action and response. Ready open! |
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3 goals of warm up |
1. To relieve tension that blocks emotional / full respiration and voice 2. To loosen and lumber 3. To connect voice movement and feeling at the body center. |
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The warm up |
Integrates all that you have learned to put your body in gear. |
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A warm up |
Is effective if you feel centered and energized physically vocally and emotionally ready to act. |
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2 concepts that dominate our work with acting partners |
Listening and taking in |
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Listening |
Must be an active process. We listen with our ears, minds, feelings and bodies. |
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Listening |
Must be an active process. We listen with our ears, minds, feelings and bodies. |
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Taking in |
Means letting what we hear and feel affect us physically emotionally and mentally. |
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Listening |
Must be an active process. We listen with our ears, minds, feelings and bodies. |
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Taking in |
Means letting what we hear and feel affect us physically emotionally and mentally. |
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Vulnerable |
When you are taking in. Shedding emotional barriers. |
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Personalization |
Is the process through which you make the dramatic meaningful so you can believe in what is happening and respond with truth and sincerity |
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Sense memory |
The ability to recall and recreate experiences through our senses helps form the images so vital to the actor's personalization process. |
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Subsitution |
Is the use of people and events from your own life in place of characters and events in a play |
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Subsitution |
Is the use of people and events from your own life in place of characters and events in a play |
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Subtext |
Reveals the truth if your thoughts and feelings is not necessarily revealed in the objective of your work. |
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Subsitution |
Is the use of people and events from your own life in place of characters and events in a play |
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Subtext |
Reveals the truth if your thoughts and feelings is not necessarily revealed in the objective of your work. |
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Justification |
The process of making actions plausible. |
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What |
Refers to what has happened up to the moment of your stage life and what's happening as you begin to work. What is the dramatic circumstances under which you must operate that determine your objective. What defines your objective. |
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Who |
Characters identity and relationships of everyone else on the stage. Results of the confluence of circumstances that have shaped your characters like how old am I?when |
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When |
Can refer to time of day. Time of year specific events and historical time. |
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Where |
Describes the physical and social conditions in which your character lives. Where sets the scene and activity interacts with The Who and what of the given circumstances where determines actions and is simultaneously deferred by action. |
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Emotional recall/affective memory |
A form of substitution that requires recalling an event from your life that is analogous to the event or emotions required in a play in order to substitute your real emotions for the characters. |