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| an impromptu portrayal of a character or scene |
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| the natural way a person responds to a stimulus |
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| a key to successful improvisation, concentrating on the immediate situation |
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| To be visible on stage without scene- stealing |
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| Primary means of conveying character |
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| voice, body language, and movement |
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| Things that are heard, seen, tasted, or smelled |
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| The setting up of an action with definite hand movements, for example the snap of a mime's hand around glass |
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| A silent film star who was a master of pantomime |
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| A movement opposite to the action that the mime wants the audience to follow |
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| The art of imitating real life actions without using words |
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| The art form that does not precisely imitate real life physical action but gives an illusion of that action |
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| The frenchman who is one of the best-known mimes in history |
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| The neuromuscular awareness that you feel when your body is in a particular position |
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| The general term for expressing ideas and emotions without using words, the essence of pantomime and mime |
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| The body parts where all arm movement must end |
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| The selection and pronunciation of words and their combinations in speech |
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The manner in which vowel and consonant sounds are produced and accents are placed on syllables |
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| Speaking while the throat is closed by tension or while breath is being controlled carelessly |
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| The relative strength, force, or intensity with which sound is made |
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| The span between the highest and lowest notes on the music scale that one can reach without straining |
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| The term for variety in pitch |
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| The individual sound of a particular voice |
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| A flaw in speech, speaking without inflection |
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| the relative highness or lowness of a voice |
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| the speed at which words are spoken |
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| the middle point of a range, often two or three notes lower than a normal speaking voice |
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| The vibrant tone produced when sound waves strike the chambers of the throat, head, nose, and mouth |
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| words, actions, or technical effects that are signals to all onstage that something is about to happen or be said |
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| to ad-lib when smoothing over a mistake, or to obstruct the audience's view |
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| for example, picking up a book or opening a letter onstage |
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| any improvised stage business or conversation |
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| the speed at which a play moves along |
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| The director who developed a theory of acting known as "The Method" |
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| This term refers to the question, "what would I do if the events in this play were happening to me?" |
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| Items placed on stage for use by actors |
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| Items carried on stage by an actor |
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| Using increased tempo, volume, and emphasis to bring a scene to its climax. |
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| The ability to change character or style easily |
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| The process of creating a fully developed character |
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| The ability to direct your thoughts, energies, and skills into what you are doing at any given moment |
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| Another term for nonverbal communication |
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| A repeated action that is a clue to a character's personality |
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| The why of characterization, a character's inner force |
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| The stage technique in which an actor turns at the waist with his/her face toward the audience |
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| "Taking yourself out of a scene" |
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| The stage technique in which an actor turns away from the audience diverting attention from himself or herself |
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| The voice modulation used when one is surprised, shocked, or asking questions |
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| the voice modulation that signals the end of a statement |
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| The hidden meaning that lies between the lines |
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| "Forgetting what you know" |
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| Purposely appearing to be ignorant of any information from later in the play |
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| Lines that actors trail off rather than finish |
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| lines interrupted by another speaker |
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| extremely important lines that everyone in the audience must hear |
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| To extract the maximum response from the audience |
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| The swelling and fading of an audience's laughter |
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| The type of stage completely surrounded by the audience |
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| The type of stage that is surrounded on three sides by the audience and has a back wall |
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| The line stated in order to silence the audience's laughter |
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