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Acting II

Kill me

QuestionAnswer
Endowment putting emotional memory into objects or people to become more involved with what's going on and to become more focused.
Subtext reactive thought that leads you to your next action as the character. Becomes the last link in throughline.
Moment before a developed detailed series of events that the actor imagines for their character before entering the scene
Sense Memory the use of the memory of an actor's real or imagined past of sensations similar to those required by a scene in order to enrich the actor's response to a scene. (5 senses)
Tactics techniques used to overcome obstacles
Tempo Rhythm Tempo is the speed of the action. Rhythm is the intesity of the action.
Beat Objective The aim or goal of the smallest division of the dramatic action for your character, and to have a useful beat objective, you must have an active verb and a fully defined relationship with your object in the now.
Truth and Belief Truth comes through the convincing actions of an actor. Once the actor's actions are acknowledged, they are recognized and believed. The belief is our confirmation and acceptance of the truthful action.
Ensemble Everyone involved in making the production.
Throughline Each beat and scene in a role fitting together like the vertebrae in a spine. When the actor experiences the connectedness, the role begins to flow as if under it's own power.
Public Solitude The actor, through focus on the objective, can "forget" that he or she is in the public and thereby avoid self-consciousness and stage fright.
Justification Finding reason behind and impetus towards physical action. It is a means through which we translate a logical sequence of thought into a feasible progression of doing.
Physical Actions The justified movements of an actor's character in a play.
Obstacle anything that stands in the way of your character achieving their goal and getting what he/she wants.
Communion The collaboration of emotions, thoughts, and words with your character and the objects of the play.
Superobjective The overriding goal of a character throughout the entire world of the play.
Imagination The ability to let your thoughts run wild into an endless array of possibilities, situations, and circumstances within the world of the play.
Psychological gesture After studying your character, the GC's and creating a biography, psychological gestures are specific gestures of your character that are NOT a part of you. This is a tool to help you focus on your smallest circle of attention.
Score The framework of your character in a play that leads you to your inspiration for that character. This is something you actually write down to help you find your super, beat, and scene objectives along with your tactics and obstacles.
Beats A unit o action with it's own crisis and conflict. In each beat, your character will have a single objective. Beats are formed of moments and flow to create the underlying structure of a scene.
Relaxation The act of releasing all the tensions from your body and mind. making your creative processes free and clear.
Adaptation The inner and outer means that people use in a variety of relationships and also as an aid in affecting an object. Made consciously and unconsciously.
Magic If When you put yourself in the GC's of your character as if you lived in that world, then experience your character's needs as if they were your own, then choosing and following your character's actions as if they were your own
Scene Objective Your characters needs and wants within a scene.
Biography A developed detailed back story that an actor creates for their character in a play before going into the rehearsal process.
Given Circumstances the plot, facts, incidents, period, time and place of action, the way of like, how the actors and the directors understand the play, contributions we ourselves make, the mise-en-scene, sets, costumes, props, stage dressing, sound effects etc.
Created by: Kelsey Lynn Kelsey Lynn on 2009-12-14



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