Terms And People To Know From Chapter 4 Of Acting Is Believing

Front 1

Word that motivates a sequence of smaller actions. "To provoke," "to seduce," "to belittle," and "to protect" are examples that stir the actor's imagination and give rise to subsequent actions.

Back 1

action verb

Front 2

The ability to adjust and sometimes abandon the present plan of actions when confronted with the unexpected.

Back 2

adaptation

Front 3

The technique that allows actors to hold fast to the reality of their roles while altering objectives or actions to fit the changing circumstances of the scene.

Back 3

adjustment

Front 4

A technique by which actors "distance" themsevles from their roles, continually pointing out the significance of each action in relation to the total meaning of what the characters are doing and saying.

Back 4

commenting

Front 5

Without knowing what will transpire, the character's continuous state of anticipating what will happen next.

Back 5

expectation

Front 6

A validation of and strong belief in every action that an actor makes for the character in pursuit of each simple objective.

Back 6

justification

Front 7

American director, producer, writer, and actor, was an original member of the Group Theatre from 1931-1941 and later founded the Actors Studio Theatre. His publications remain some of the most accessible interpretations of Stanlslavski's theories ever written.

Back 7

Robert Lewis (1909-1997)

Front 8

The heart of the Stanislavski System; it is the actor's logical sequence of actions that leads to the stirring of emotions, thoughts, imagination--all the psychic forces.

Back 8

Method of Physical Actions

Front 9

Impovisational scene for two actors with specific yet simple dialogue with no predetermined scenario.

Back 9

non-content scene

Front 10

A character's quest at any given moment, expressed and pursued by use of an action verb that motivates a sequence of simple actions (e.g., to provoke, to belittle, to seduce). The best-known translation of Stanislavski's term zadacha (problem).

Back 10

simple objective

Front 11

A physical or psychological obstruction that hinders the character from completing an action. Provide conflict and heighten the dramatic effect.

Back 11

obstacle

Front 12

Either physical or verbal, action happens in and is dictated by circumstances. Not to be confused with physical movement (a mechanical act), action has purpose and is motivated by the character's simple objective.

Back 12

physical action

Front 13

A physical act stripped of any context or meaning.

Back 13

physical movement

Front 14

The inseparable connection between internal experience and its external expression. Every mental process is immediately transmitted through the body in visual expression.

Back 14

psychophysical union

Front 15

Words that do not motivate an immediate sequence of simple actions. Examples include: run, sit, jump, hit, and read, Although action verbs in the grammatical sense, they lack progression and are an end in themselves.

Back 15

static verb

Front 16

The overall plan of attack to overcome opposing forces.

Back 16

strategy

Front 17

Stanislavski's technique training that permits the actor to create a character through primary focus to the play's given circumstances.

Back 17

System Acting