The 111: Chapter 4,5,6

Front 1

The fundamental principle in acting is that the actor must always _______ _______ _______ _______

Back 1

play toward a goal

Front 2

The actor acts by _______ -- often vigorously -- the presumed _______ of the character

Back 2

pursuing; goal

Front 3

Sometimes the goal is called the _______ or the _______

Back 3

objective; victory

Front 4

In a play, the goal should be fairly _______ to achieve. This makes acting _______ and the action more engaging and interesting to the audience.

Back 4

difficult; dramatic

Front 5

The actor must pursue a ______ in the context of an _______

Back 5

goal; obstacle

Front 6

The _______ is what you -- your character -- wants. The _______ is what stands in your way.

Back 6

Goal; obstacle

Front 7

When you are reaching for a goal, your action is purposeful and you are emotionally, physiologically committed. The actor's _______ pursuit of the character's goal is what makes the action of a play _______, not _______; dynamic, not static

Back 7

energetic; acting; demonstrating

Front 8

The job of the actor is to _______ and _______ goals in every role, even in training exercise or callisethenics, and also to find and _______ the obstacles that stand in your way.

Back 8

find; pursue; challenge

Front 9

_______ can help transform simple, everyday acts into acting.

Back 9

Imagination

Front 10

_______ is the breeding ground for _______. and an actor's fantasy is often the source of his or her most compelling _______ and _______.

Back 10

Imagination; fantasy; goals; obstacles

Front 11

_______ is the actor's greatest enemy

Back 11

Self-consciousness

Front 12

The only way for an actor to avoid self-consciousness -- and to truly relax -- is to _______ _______. The more actors feel they are doing something important, the more they relax into he task and think about things other than themselves.

Back 12

Do something

Front 13

_______ is your focus on others, on the outside world, and your efforts to _______ your concerns outside yourself.

Back 13

Projection; project

Front 14

Projection is also the ability to _______ _______ _______ by others.

Back 14

Make yourself heard

Front 15

Projection is the opposite of _______

Back 15

self-consciousness

Front 16

_______ acting: _______-_______-_______ communication at the most fundamental level.

Back 16

Pure; person-to-person

Front 17

Not all acting involves lines, but all acting does involve _______-_______-_______ _______, at either the _______ or _______ level.

Back 17

person-to-person; communication; verbal; nonverbal

Front 18

_______ are the means by which actors involve themselves with activity around them -- and turn their focus _______, away from self-conscious self-absorption.

Back 18

Projections; outward

Front 19

In most plays, actors try to _______ _______ _______ on other people.

Back 19

Have an impact

Front 20

For the purposes of acting class, the _______ is your acting partner.

Back 20

other

Front 21

_______ _______ into other people is one of the essential tasks of the actor. This means having a willingness to look clearly and directly at your acting partner and to take in _______ _______ _______ with whom you are acting.

Back 21

Probing deeply; the whole person

Front 22

All acting is _______ with other persons.

Back 22

interacting

Front 23

The more fully you _______ your acting partner, the more fully you will be _______.

Back 23

contact; acting

Front 24

Acting is something you can never do entirely in _______ or entirely by yourself.

Back 24

isolation

Front 25

The actor's awareness of others is not merely a matter of _______ _______

Back 25

dispassionate observation

Front 26

Stage relationships that are properly _______ must suggest a potential for dramatic _______.

Back 26

dramatic; change

Front 27

_______, a crucial component of acting, means that you are aware of the other actor as a _______ person, and that you are also aware of the potential _______ or _______ that can come from the relationship between you.

Back 27

Vulnerability; complete; good; harm

Front 28

_______ _______ suggest that relationships are not merely _______ agreements between agreeable people but are evolving interplays of mutuality and independence, attraction and separation, desire and fear.

Back 28

Interactive dynamics; static

Front 29

Your partner is always a _______.

Back 29

character

Front 30

The moment an acting exercise begins, it exists within a _______ context. At that point, all participants are characters, and all behaving is acting, or _______.

Back 30

theatrical; playing

Front 31

_______ are the strategies of human communication; they are the active ingredients of dynamic interactions.

Back 31

Tactics

Front 32

In an effort to achieve goals and overcome obstacles, the actor continually tries to put _______ on the other actors -- who are, of course _______ in the play or scene.

Back 32

Pressure; characters

Front 33

Your power in playing tactics will determine your _______ and _______ on stage.

Back 33

authority; magnetism

Front 34

Full contact with an acting partner depends on your _______ to engage in genuine _______ interaction with another person.

Back 34

willingness; emotional

Front 35

All dramatic speeches, even monologues and soliloquies, are spoken to _______ else, even though that someone may be nonpresent at the time, dead, otherworldly, or imagined.

Back 35

someone

Front 36

Most of what the audience eventually sees in an acting performance is a _______ between characters -- a _______ created by you and your acting partner

Back 36

relationship; relationship

Front 37

_______ _______ are devoid of fixed plot or characterizations.

Back 37

Contentless scene

Front 38

One often talks, in acting, about "_______ _______ _______ _______ _______ _______ _______."

Back 38

creating the illusion of the first time

Front 39

_______ are not things that you play or that you have to show

Back 39

Intensifiers

Front 40

Intensifiers are actually _______ that you will have to struggle _______; against showing them and against their standing in your way

Back 40

obstacles; against

Front 41

_______ a scene brings out subtler undertones and more poignant transitions; it also gets the acting "_______ _______ _______" more than simply sitting and talking

Back 41

Physicalizing; into the body