Chapter 4- The Actor

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Today, the debate over inside or outside styles of acting

is largely diminished, with Stanislavsky and classical techniques both emphasized

Actors who studies human behaviors from a broad range of historical periods, countries, and social classes, so as to apply them when creating characters from a variety of dramatic styles, demonstrates a technique of the _________ mode of acting.


The three main elements of the actor’s approach are goals, tactics, and

researching the style of the play and mode of performance.

Acting is a low-income life, more often than not depressing, anxious, and beset by demands for sacrifice from every direction—psychologically, financially, and morally.


What is "The Method?"

an American acting style derived from the Russian actor-director Konstantin Stanislavsky’s self-proclaimed system

Which of the following does the director NOT typically look for in an audition?

personal history that exact matches that of the character

Stage fright is groundless and based on irrational fears


The actor’s "magic" refers to the divine attributes that hearken back to the earliest days of the craft’s formation


The major psychological component of the actor’s instrument is the unconscious.


The type of performing that asks the actor to enter the mind of the character being played is

representational acting

"Blocking" refers to

stage movements

An expressive voice and a solid education in literature are the two components of training an actor’s instrument.


Who maintained that the actor should be "an unmoved and disinterested onlooker" and imitate emotion rather than feel it?

Denis Diderot

In his first published work, Stanislavsky states that the "prime task" of the actors is to "create the

"inner life of the character"

Most auditions consist of performing

one- or two-minute monologues from plays or short narrative cuttings from novels, stories, or poems which display contrast.

What are the two fundamental notions of acting?

representational and presentational

"Discipline" refers to the strictness and decorum with which the actor converses with the director.


The mid-twentieth century saw an emphasis on "reality" and inner emotional life in both film and theatre.


Which historical figure did NOT in some way articulate the "paradox of acting"?


Konstantin Stanislavsky, founder of the Moscow Art Theatre (1898), said "You must live the life of your character on stage." Which style of acting does this statement describe most closely?

the representational mode of acting.

Great acting must transcend mere technique or training and elevate itself into something higher.


Why did the Greek actor Polus, when playing the role of Electra, bring the ashes of his dead son onstage with him?

He wanted to cry real tears lamenting the "death" of his character’s brother.

Stanislavsky’s system stresses the actor’s work with the zadacha, which refers to

the character’s "problem" or "goal" that is, what the character desires to achieve.

Which two writers best exemplify the range of difference between external and internal approaches to assuming a character?

Diderot and Stanislavsky

The dual meanings of this word explain both its physical, common definition and its more religious meaning, "spirit stimulus."


What description best characterizes our current relationship to virtuosity?

It is making a comeback since the heyday of the Method in the mid-twentieth century.

Patrick Stewart compares acting in the theatre as similar to his experience acting in "Star Trek.


Directed stage actions that are precisely scripted physical behaviors worked out in blocking are called

stage business.

The term mimesis means


The actor’s instrument is his or her


The term used for the technical skills needed for professional acting, focusing primarily on the voice and body, is


The three stages of the actor’s routine are personal training, premiering, and running the show.


The term "subtext" refers to

a character’s unspoken and undescribed goals.

Which faculty keeps the actor within established bounds and at the same time ensures artistic agility?


What alternate meaning of "presence" explains the power of the actor beyond virtuosity?

the projection of an aura of magic and the divine

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