| Term 
 
        | emotional or subjective acting |  | Definition 
 
        | when actors play their parts in such a way that they actually weep, suffer, or struggle emotionally in front of the audience |  | 
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        | technical or objective acting |  | Definition 
 
        | performance is based on acting technique |  | 
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        | main characters in the play |  | 
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        | person who must solve the problem that arises in the play or be defeated in the conflict |  | 
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        | person who opposes the goals of the protagonist |  | 
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        | characters who act as contrasts to others with whom other characters, usually the protagonist, are compared |  | 
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        | a character with whom another character, usually the protagonist, is compared |  | 
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        | almost alwas include some distinguishing trait, idiosyncrasy, or personality type |  | 
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        | casting someone over and over again in the same kind of role |  | 
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        | the ability to change style or character with ease |  | 
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        | the books that you read to help shed light on your character |  | 
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        | communication that uses gestures, postures, and facial expresstions instead of words |  | 
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        | a distinctive action that serves as a clue to a character's personality |  | 
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        | the part of the body that appears to lead gestures, such as the chest as a leading center for a brave character |  | 
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        | usually resemble in appearance and personality the characters the playwright had in mind |  | 
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        | putting together all facets of a character to bring life and interest to that character |  | 
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        | an individual whose posture, movements, habits, voice inflections, and manerisms are observed in order to build character |  | 
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        | movement from one stage postition to another |  | 
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        | when he or she pivots the torso and turns the face toward the audience |  | 
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        | stand or sit parallel to another actor |  | 
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        | when he or she crosses downstage and then turns slightly upstage toward the other actor |  | 
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        | when they shift the angle of their bodies upstage and look directly at the scene's key character |  | 
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        | "taking yourself out of a scene" |  | Definition 
 
        | an actor who turns away from the audience into a three-quarter back or full position draws attention away from himself or herself. |  | 
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        | rising, falling, sustained, and circumflex |  | 
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        | used to indicate questioning, surprise, or shock |  | 
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        | usually signals the end of a statement also used to express depresstion, finality, or firmness |  | 
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        | staying on the same note which suggests calmness, decisivness, or steadiness or purpose |  | 
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        | the intonation of two or more vowel sounds for a what ordinarily is a single vowel sound |  | 
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        | what your character thinks but does not say |  | 
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        | the  use by an actor of a personal experience to relate to the experience of a character within a play |  | 
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        | the impromptu portrayal of a character without preparation or rehersal |  | 
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        | lines that are interrupted by another speaker |  | 
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        | the speaker trails off rather than finishing the line |  | 
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        | placing the emphasis on exactly the right word and timing the rate and pauses so that the audience gets the full emotional impact |  | 
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        | figuring out the meaning of the line and stating it in your own words |  | 
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        | the audience's reaction that actors listen for in order to anticipate the length of time the audience will laugh |  | 
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        | to improvise stage buisness or conversation |  | 
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        | who and what are onstage when the curtain opens |  | 
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        | the area behind the set or that part of the stage that is not visible to the audience, including dressing rooms, shops and offices |  | 
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        | an acting role with very few lines, a piece of stage buisness in one scene |  | 
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        | getting behind furniture or other actors so that you cannot be seen by the audience |  | 
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        | using dramatic devices, such as increased tempo, volume, and emphasis, to bring a scene to climax |  | 
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        | any specific action (other than changing location) preformed on the stage, such as picking up a book or turning on a television set |  | 
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        | the symbol used to identify the center of the stage |  | 
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        | a movement in a direction opposite to a cross to balance the stage picture |  | 
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        | to obstruct the view of the audience; use of ad-lib to cover an unexpected, unwanted event during a performance |  | 
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        | the last words, action, or technical effect that immediatley precedes any line or buisness; a stage signal |  | 
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        | the curtain or drapery that shuts off the stage from the audience; when written in all capital letters in a script, it indicates that the curtain is to be closed |  | 
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        | to break into the speech of another character |  | 
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        | the part of the stage toward the audience |  | 
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        | as a technical term, placing furnishings, pictures, and similar items to complete and balance a set; keeping the stage picture balanced during the action |  | 
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        | giving lines and action in such a way that another actor can make a point or get a laugh |  | 
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        | an acting role that is used for personality comparison, usually with the main character |  | 
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        | items (properties) such as tools, weapons, or luggage carried onstage by an individual player |  | 
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        | to emphasize a word or line with extra force |  | 
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        | waiting for the audience to quiet down after a funny line or scene |  | 
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        | terms used to refer to the stage from an actor's point of view, not from that of the audience |  | 
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        | to draw the maximum response from the audience from comic lines or action |  | 
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        | to speak when someone else is speaking |  | 
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        | the movement or sweep of the play as it progresses |  | 
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        | the small props that are usually carried in an actor's costume, such as money, matches, a pipe, or a pen |  | 
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        | the stage command for actors to take their positions at the opening of an act or scene |  | 
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        | the main characters in a play or the named characters in a musical |  | 
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        | all the stage furnishings, including furniture and those items brought onstage by the actors |  | 
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        | the analysis of a character |  | 
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        | script scoring or scripting |  | Definition 
 
        | the marking of a script for one character, indicating interpretation, pauses, phrasing, stress, and so on |  | 
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        | the scenery for an act or a scene |  | 
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        | properties placed onstage for the use of actors |  | 
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        | half-sheet pages of a script that contains the lines, cues, and buisness for one character |  | 
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        | attracting attention from the person to whom the audience's interest legitimately belongs |  | 
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        | the unstated or "between the lines" meaning that an actor must draw from the script |  | 
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        | the last speech in an act or play, usually humorous or clever |  | 
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        | giving an actor the freedom to move over the entire stage area, usually during a lengthy speech |  | 
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        | the speed at which the action of a play moves along |  | 
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        | the execution of a line or a piece of business at a specific moment to achieve the most telling effect |  | 
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        | to make a line stronger that the line or lines preceding it by speaking at a higher pitch, at a faster rate, or with greater volume and emphasis |  | 
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        | the area toward the rear of the stage away from the audience |  | 
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        | improperly taking attention from an actor who should be the focus of interest |  | 
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        | a small acting part that has no lines |  | 
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        | notification of an upcoming action or cue; usually indicating the promptbook |  | 
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        | when actors internalize a character, they develope a deep personal understanding of what the character is really like |  | 
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        | the process by which the true personalitly of a character is made visible to an audience |  | 
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        | the ability to direct all your thoughts, energies, and skills into what you are doing at any single moment |  | 
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        | observing people carefully, noting how they communicate fine shades of emotion |  | 
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        | recalling of specific emotions that you have experienced or observed |  | 
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        | once inner feelings are externilized, they  must be projected to the audience |  | 
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        | the why of charaverization, to be believable your character's behavior must be driven by an inner force |  | 
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        | Term 
 
        | 8.) Stretching a Character |  | Definition 
 
        | the process of making a role unique, individual, and interesting |  | 
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        | 9.) The Consistent Inconsistency |  | Definition 
 
        | a special personality trait of a character that the actor chooses to emphasize |  | 
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        | 10.) Playing the Conditions |  | Definition 
 
        | conditions are the elements of time, place, weather, objects, and the state of the individual |  | 
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        | 11.) Playing the Objectives |  | Definition 
 
        | includes all the ways and means that a character uses to reach a goal |  | 
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        | 12.) Playing the Obstacles |  | Definition 
 
        | facing each crisis or obstacle that stands in the way of an objective as the character would face it |  | 
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        | how an actor uses objects onstage to project character |  | 
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        | the fuel that drives acting, both individual preformance and group performance |  | 
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        | directs the actor's attention, action, emotion, or line delivery to a definite target |  | 
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        | every actor who plays a character should be unique in that role, not merely a close copy of someone else |  | 
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