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| Behaving truthfully for a purpose under the imaginary circumstances of the play. |
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| Fundamental Laws of the Theatrical Universe |
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| thou shalt not confuse thy audience |
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-same as "as if"
-a way to get you emotionally invested in the scene by making it personal to you |
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| The Method of Physical Action |
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| Who, what, when, where, with, what |
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| What the playwright has provided in the script. |
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| The Imaginary circumstances |
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| An interpretation of the script which fits within the tolerance and rules of the play. |
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| How the character gets what he/she wants. |
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| A beat changes when a goal (objective) changes. |
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| Print them out single-sided, Staple 3 times down the side, on the left side divide vertically into 2, and on the right, 3 and lable "Event," "Action," "Blocking," and "Tactic" |
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| Something to keep you emotionally invested |
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| Don't concern yourself with it. It's as useful as concerning yourself with talent. If your concerned with success, you're distracted from the play. |
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The overriding actions which all actions serve
-the main want |
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-humility
-generosity
-consideration
-tact
-wipe your feet at the door |
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| Imaginary constructs which carry action |
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| What the character is not saying, but what the character means. |
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| Definition of Action according to "A Practical Handbook for the Actor" |
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| A physical persuance of a specific goal |
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| Criteria of a playable action according to "A Practical Handbook for the Actor" |
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Definition
1) Physically capable of being done
2) Fun to do
3) Specific and not general
4) The test of the action must be in the other person
5) Cannot be an errand
6) Cannot presuppose any emotional state
7) cannot be manipulative
8) must have a cap
9) must be in line with the intentions of the playwright |
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| The myth of character according to "A Practical Handbook for the Actor" |
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Definition
| Character is an illusion created by words and given circumstances supplied by the playwright, and the physical alction by the actor. |
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| The emotional trap according to "A Practical Handbook for the Actor" |
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Definition
| You don't need to "feel" what the character feels. Emotions are not within your control, and the minute you start to manipulate them, we notice. |
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| The truth of the moment according to "A Practical Handbook for the Actor" |
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| What's happening in a scene as you're playing it. |
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| Rehearsal synonyms for the character's "want" according to "The Golden Key" |
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Definition
-objective
-goal
-purpose
-ambition
-intention
-desire
-need
-persuit
- endeavor
-verb
-what are you after?
-what are you trying to get?
-what are you doing?
-what are you playing? |
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| Indicating according to "The Golden Key" |
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Definition
| Indicating a feeling rather than playing an objective. It is representing a picture of the experience. It is avoiding personal commitment to the want of the character. |
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| Illustrating according to "The Golden Key" |
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| ndicating a feeling rather than playing an objective. It is representing a picture of the experience. It is avoiding personal commitment to the want of the character. |
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| Demonstrating according to "The Golden Key" |
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Definition
| Indicating a feeling rather than playing an objective. It is representing a picture of the experience. It is avoiding personal commitment to the want of the character. |
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| Telegraphing according to "The Golden Key" |
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Definition
| Indicating a feeling rather than playing an objective. It is representing a picture of the experience. It is avoiding personal commitment to the want of the character. |
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| Phrasing of a playable want according to "The Golden Key" |
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Definition
1) Contains a verb
2) Contains a receiver
3) Contains a desired response
EX: I am trying to convince him to go with me.
I want to win Gloria's admiration.
I want to awaken my father's enthusiasm. |
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| The crowbars according to "The Golden Key" |
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| "To Make" or "To Get" which can serve as the verb in the "verb, receiver, desired response" formula, and therefore clarify things to " What are you trying to get/make him (to) do?" and " WHat are you trying to get from him/make him give you?" |
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| Actable vs all other verbs according to "The Golden Key" |
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Actable verbs = the commonplace, gutsy, down-and-dirty, verbs which you can actually act on
EX: convince, tease, excite, encourage, etc.
Trigger = ones that occur not more than a moment
EX: kick, punch, slap, touch, quit, etc.
Adjectival = ones that sound like emotions
EX: argue/argumentative, pity/pitiful, charm/charming
existential = verbs that we need not participate in
EX: exist, to be, to die, to become, etc.
Behavior/condition = describe a state of being
ex: sleep, laugh, cry, eat, wait, etc.
Intellectual = usually three syllables or more. lofty and elegant.
EX: cogitate, reciprocate |
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