Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
58 Cards in this Set
- Front
- Back
|
"If an actor gets too emotionally involved in a passionate speech, s/he will move the audience less if he/she is less carried away." Explain |
Play true to the action of the line Audience will lose the meaning. They will see the emotion instead of hearing the text. Must be a balance between truth and technique. |
|
|
Sometimes the balance of thought and emotion because of an excess of naturalistic thinking. What's an actor do then? |
Channel and control the emotion. These situations are already heightened, don't minimize that to make it more accessible. |
|
|
Barton advises to look for the choric elements. Choric function is dominant of the thing described is more important than the feeling of the speaker. Explain. |
Choric elements: Like the chorus of a play. The exposition. Keeping ones own feelings in check. Contain "emotions" because what I'm saying is more important. |
|
|
Contradiction is character. explain. |
Contradictions bring in a character They are innately human Opposites create conflict (interesting!) |
|
|
Sometimes when a character forms a list they are trying to put things in order in their life. Barton thinks that when a character say "O" they are releasing emotion. Discuss. |
Using the text and enjoying the emotional release of it. Shakespeare's way of explaining to the actor and the audience what the character is thinking (his form of subtext) |
|
|
It is the actor's challenge to balance thought, feeling, and text. How does this relate to your monologue? |
Making the speech naturalistically true, and still making it poetic. To be able to show the audience the images you speak, without going over the top. |
|
|
"Sometimes it is more important to make the text resonate rather than to move oneself." Explain. |
Let the words tell the story rather than the emotion. |
|
|
An actor needs to control the flood tide of emotion and discipline it mentally and technically. The means is the language through which, and only through which, that emotion can be fed. What does this imply with regard to vocal technique? |
You have to use the language to reveal the emotion. There needs to be a balance between technique and emotion- the audience must be able to hear you. The language needs to feed the emotion without compromising vocal technique and emotion. |
|
|
How do stressed syllables relate to energy if they are set against each other? |
It helps move into the next line. If it is mid-line, it slows down the line. It sets the two idea in Antithesis to each other. |
|
|
What is double vision? |
Subjectivity and Objectivity- A character standing inside and outside of something at the same time. "In sooth I know not why I am so sad." Feelings sad and knowing you feel sad. |
|
|
What does it mean to "earn a pause" in verse? |
When Shakespeare writes a line in a way that allows a pause: A short line, a shared line, a spondee. |
|
|
A short line may indicate a pause in Shakespeare. What are three ways you can manage a short line. They are? |
a. pause before the line. b. pause after the line. c. pause in the middle. |
|
|
When a character begins a new sentence mid-line: How do you know whether or not you pause for the new thought? If you don't what might that indicate about how your character is thinking? |
Look at the scansion. If it's a short line, you pause between the thoughts. If it is not, you drive through. The character might be word-vomiting. characters may be becoming in sync. One character might be continuing the thought off the other. |
|
|
What is the function of a "song" in Shakespeare |
to mock or to show feeling a part of the action, to move things forward. |
|
|
what is the danger of playing a monosyllabic line too quickly? |
The meaning gets lost. It gets tossed away and loses importance/significance |
|
|
When an actor generalizes or summarizes a speech instead of discovering it moment by moment by moment, the audience's attention wanders. Explain. |
The actor has to let the audience feel like the play is moving along. Forward motion. Playing the general state of mind, feeling, or emotions rather than discovering it all in the moment. Be deeply inside the situation. The actor must take the audience with them. |
|
|
Most set speeches break into three in terms of what the character is doing. |
1. Respond to situation. 2. Explore. 3. Conclude. |
|
|
Barton advises that in a set speech an actor always has to go for the argument if he is to engage the audience. Explain. |
Conflict is interesting. |
|
|
Barton believes that 99 times out of 100 a soliloquy should be played to the audience. why? |
The character needs to audience to help them through their problem. There are almost no introspective monologues in Shakespeare. |
|
|
He advises that there are 3 qualifiers or conditions of the delivery of a set speech. They are: |
A. Story. B. Spontaneity. C. Arrive out of a situation. |
|
|
It is perfectly possible to do two different things with a speech at the same time. Explain. |
Having a mixture of comedy and drama |
|
|
Monosyllabic syllables and lines do what to a delivery? Why- what do they indicate about character? |
Don't rush those- that slows down the delivery. You decide why. "to be or not to be" |
|
|
What does Hamlet's advice to the players imply with regard to acting Shakespeare? |
Words-Action; let the text guide you Don't slice the air Suit the action tot he word. Shakespeare's words can help solve the problem Also want to find out more and question |
|
|
Whose job is it to make the audience listen to Shakespeare in the theatre? |
The actors |
|
|
What does Ben Kingsley advise re: Shakespeare, that is the same as the acting process you have been trained in? |
"to put in our words, what is our motivation, our objective or our aim or our intention?"
|
|
|
What does Lisa Harrow advise the with regard to "playing the quality or general emotional tone of a speech?" |
"we must be aware of playing only the quality or general emotional tone of a speech. For instance, if we have a sad speech, we mustn't just sound sad. What we play must be specific and fresh." Images- make the words fresh. Images- make the words fresh. |
|
|
What is the difference between naturalism, realism and Shakespearean text? |
Naturalism- the norm of how things are today Shakespeare text- trust the language, he does the work for you, investigate (analyze) the words |
|
|
Explain Trevor Nunn’s assertion that “Heightened speech must be something that the...character finds for himself because he needs those words and images to express his intention.” |
The “words are food”; Inventing the words as you say them “as if the first time, every time.” The words have to be the only words large enough and expressive enough to declare your situation or intention. MUST give the words justice. Rich surprising language: images, metaphors, similes |
|
|
What is “balance” in acting Shakespeare? What are you balancing? |
“There has to be a balance between being seemingly natural on the one hand and coming to terms with the heightened language on the other.” heightened and naturalistic balance (ACTOR MUST MARRY THIS IDEA) This all gives contrast. Start with our own traditions first. |
|
|
“...an actor must be rooted in nature for the emotions to be contagious and real.” Explain. |
the language you speak must come from psychological truth in order for emotions to be contagious and real |
|
|
What are the “Two Traditions”? |
Elizabethan heightened language and naturalistic contemporary approach ya know….blah blah blah blah blah 1. Us working today with what feels justifiable and real. 2. Fantastical stories, live in the moment experience. |
|
|
What is an image? What is imagery in literature? |
* Imagery is a picture
|
|
|
How does Sir Ian McKellan use images as clues to unlocking the sense/meaning of the text Macbeth speaks? |
Sir Ian McKellan uses clues throughout the piece of Macbeth for example: McKellan uses the word “fool” as a pun because it doesn’t necessarily mean “idiot” at that point. He uses his own mental images to call forth the intention behind each word. (duh)
|
|
|
What does he suggest about the significance of metre with regard to unlocking the sense/meaning of the text Sir Ian explored? |
He suggests that meter can signify thought such as “Tomorrow, tomorrow, tomorrow…” |
|
|
What does he say about the “music” of the text? what does this mean with regard to unlocking the sense/meaning of the text? |
* Pitch variation overrides sense meaning
|
|
|
What does he demonstrate about the importance of the last word in each metered line of Shakespearean dialogue? |
They add up to what is being talked about -they sum up the meaning The last word encapsulates the meaning |
|
|
Explain: “Don’t demonstrate the sounds, search them.” |
Finding the language the moment you speak it. |
|
|
What were Elizabethans’ relationship to language? |
The language was rougher. Closer to American accent. |
|
|
Discuss: “Words in Shakespeare have to be searched and savoured; particularly diphthongs and long vowels.” |
The idea of taking the audience with you on the long vowels |
|
|
Explain: “The words must be found or coined or freshminted at the moment you utter them.” What does “freshminted” describe with regard to acting process? |
It is new to the character, barely discovered. |
|
|
How do you balance “verbal relish?” |
Balancing Verbal and Physical response to the text |
|
|
How do you transfer antithetical thinking to “acting” in Shakespeare? How do you handle antitheses? |
Play the antithesis. Highlight them. |
|
|
Discuss: “inflection in the character’s delivery invites the audience to go with him/her.” |
Introduce a new thought or change something to make the story go on (new information) |
|
|
“Heightened language has a dramatic purpose.” How does this inform your acting choices in a speech that is full of heightened language? |
There is always a reason to be speaking this way. Defines that person. Raises stakes. Language is the first concern. Do not let the emotion drive what you say (balance between naturalism and realism - the person being stabbed) |
|
|
“An actor should not iron out the inconsistencies in character.” What should an actor do with them? |
Polish the inconsistencies: humans are naturally inconsistent. |
|
|
“Characters need the language they speak.” What does this imply with regard to acting Shakespeare? |
* We need to know why we need the words - listen to other person.
|
|
|
“make the words your own…” means? |
I THINK?? Endow the images as your own? Don’t meekly speak the heightened language- choose to commit to the words you are speaking because you need them and then they become clear. |
|
|
Distinguish the difference between blank verse, rhyming verse and prose: |
Blank Verse: Iambic Pentameter, No Rhyming Rhyming Verse: Iambic Pentameter, Rhyming Prose: No meter is present |
|
|
Iambic pentameter most closely approximates the patterns of…? |
* Light and strong stresses
|
|
|
Shakespeare uses blank verse by setting up a norm of iambic pentameter and then he puts important words in off beat positions creating contrapuntal stress. How does this provide clues to character, intention and action? |
They draw attention to the inconsistencies to indicate Antitheses, slowing down, or speeding up of the ideas. |
|
|
Missing syllables in a line of text may indicate…? |
Pauses, collecting thoughts, shared lines, Physical Action |
|
|
To the contrary, missing syllables in a line of text may indicate…? How do you determine each (4 and 5)? |
Collecting thoughts OR shared lines |
|
|
A pure iambic line may indicate that the character is thinking faster. Explain the difference between thinking fast and speaking fast? Are they one and the same? |
Speed of speech may indicate intention and doesn’t necessarily correlate with speed of thought, speed of thought has to do with the character’s emotional and mental state. |
|
|
Explain: Think/act on the line, not between them? |
We have to think faster; not speak faster |
|
|
What is a shared verse line? What does it indicate with regard to delivering text? |
* indicates “pick up the cue”
|
|
|
When a character pauses, the mind goes on “ticking;” Explain. |
Iambic keeps the mind ticking/still thinking |
|
|
What is a run-on line and how should it be delivered? |
A line that runs into the next |
|
|
How do you handle a mid-line stop (period in the middle of a line)? Why? |
If you should pause or not |
