Quiz 1

Question 1

Upstage Right

Answer 1

Further from the audience and on the actor’s right

Question 2

Upstage left

Answer 2

Further from the audience and on the actor’s left

Question 3

Upstage Center

Answer 3

Further from the audience and on the actor’s center

Question 4

Centerstage right

Answer 4

Middle the audience and on the actor’s right

Question 5

Center

Answer 5

Middle the audience and on the actor’s middle

Question 6

Centerstage left

Answer 6

Middle the audience and on the actor’s left

Question 7

Downstage Right

Answer 7

Closest to the audience and on the actor’s right

Question 8

Downstage center

Answer 8

Closest to the audience and on the actor’s middle

Question 9

Downstage left

Answer 9

Closest to the audience and on the actor’s left

Question 10

Blocking

Answer 10

Movement of actors onstage, created by the actor, or set by a director

Question 11

Vocal Projection

Answer 11

Amplifying your voice so that it reaches the audience

Question 12

“Cheating out”

Answer 12

An expression that means to keep your body physically open/visible to the audience

Question 13

“Upstaging” or “Pulling Focus”

Answer 13

Diverting the attention away from another actor towards oneself

Question 14

“Breaking the fourth wall”

Answer 14

The fourth wall refers to the imaginal wall between actors and the audience. When an actor addresses the audience directly, they are “breaking the fourth wall”

Question 15

Actors are _____. Their job is to interpret a writer’s script to entertain or inform an audience

Answer 15

storytellers

Question 16

The “Magic If”

Answer 16

The question every actor must ask themselves before they begin their acting work: “What would I do if I were in these circumstances? How would I act?”

Question 17

Acting is not memorizing and reciting lines, it is creating a

Answer 17

complete living breathing charater

Question 18

Actors must have the ability to recreate

Answer 18

experiences within themselves and the ability to express those experiences without fear. Actors must commit

Question 19

Actors make ____. Good actors explore a variety of vocal and physical choices using everything they know about their character from the playwright/screewriter

Answer 19

choices

Question 20

Given circumstances

Answer 20

Set of environmental and situational conditions which influence the actions of a character. (Facts about the character often giving by the playwright, sometimes actors have to fill in these details for themselves)

Question 21

The Moment Before/ The Moment After

Answer 21

What is happening to your character the moment before a scene starts or before they enter the scene? What happens after they leave the scene.

Question 22

Commitment/Staying in Character

Answer 22

An actor must “buy in” to the circumstances of their character and accept them as their own. To “commit” in a scene means to have the courage to accept the given circumstances fully and to “stay present” in the scene for its duration

Question 23

Subtext

Answer 23

The underlying message being conveyed by a line of dialogue. For example, the line “Great haircut, Joan!” could have many different meanings. It is an actor’s job to interpret meaning by gathering clues from the script about their character

Question 24

“Raising the stakes” of the scene

Answer 24

Plays contain big thoughts and feelings. When a director asks an actor to “raise the stakes” she is asking the actor to make the situation more important or for them to create a sense of urgency. “I have to get Romeo to fall in love with me right now!”

Question 25

“Doing” Vs. “Showing”

Answer 25

To act means to do. Good actors do what they are doing. They don’t show us (the audience) that they are doing it. They just do it. For example, if a character is sweeping a floor, the actor really has to sweep with the goal of getting the dirt up rather than just moving the broom to show the audience that sweeping is happening

Question 26

Like it’s the First Time

Answer 26

Although actors spend countless hours in rehearsal, they have to make each moment of the scene/play appear like they are doing it for the first time

Question 27

Observing and Listening

Answer 27

Being present and listening is incredibly important. In life, we can tell when someone is present and available to us, and the same is true on stage. As an actor it is your job to really hear not just what your fellow actors are saying, but how they are saying it. How are they treating you?

Question 28

Discoveries

Answer 28

Pieces of info your character learns in a scene that they did not already know

Question 29

Reversals

Answer 29

When an action produces the opposite of what is desired or expected. i.e. I walk into a room expecting to see my friend and instead there’s a full-blown surprise party for me

Question 30

GOTE

Answer 30

Goal, obstacle, tactics, and expectations

Question 31

Goal

Answer 31

What is your character’s principal quest? What is their desire? Goals should be specific and include a strong verb (i.e. “I want to marry Juliet at any cost.”) Sometimes referred to as an objective or motivation. There are super-objectives (for the entire play) and there are mini-objectives (for individual scenes)

Question 32

Obstacle

Answer 32

What stops your character from achieving their goal?

Question 33

Tactics

Answer 33

Refers to the methods used to achieve goals. When actors name tactics they should include verbs. I am going to “seduce Juliet” “to convince the nurse to be on my side” “to stand up for Juliet’s parents” “to plot with Friar Lawrence” Strong tactics creat strong characters who are fighting for something. Interesting to watch

Question 34

Expectation

Answer 34

This helps the actor with their imaginary inner life. What will your character do when they get what they want? What would it mean to them? Actors should always believe as if they can succeed in reaching their goals

Question 35

Emotion is the “sweat” of action

Answer 35

Good actors focus on goals or tasks that their character needs to complete. Emotions will often arise, but they are a byproduct and should not be the focus. (Think of the partner exercises you did “when you need something from your partner your focus should be on trying to get what you need rather than focusing on “being upset” - even though you trying to get what you need may result in you becoming upset, if your partner isn’t cooperating)

Question 36

Konstantine Stanislavski

Answer 36

The Russian acting teacher and director who created “The Stanislavski System” or “The Method.” The major component of the method is that an actor should search for inner motives to justify an action that helps their character complete a task or reach a goal. Stanislavski’s goal was to create a style of acting that was more realistic

Question 37

Beats

Answer 37

Small unit of action in a scene or play (i.e. you can break a monologue down into “beats.” You know a new beat starts when a new tactic happens or the scene changes

Question 38

Beat

Answer 38

How a playwright indicates that actors should take a brief pause

Question 39

Substitution technique

Answer 39

When an actor uses moments from their own life to make their character’s given circumstances more real for themselves.

Question 40

Narrative Monologues

Answer 40

Where the character tells a story. Doesn’t typically involve the person they are talking to

Question 41

Active monologues

Answer 41

Where the character has a goal or something they hope to accomplish. It involves the person they are talking to

Question 42

Where do I look: Monologue

Answer 42

Over the heads of the auditor/audience not directly at them. Also, avoid playing to the corner or sides of the theater or audition room

Question 43

Where do I stand? Can I sit?: Monologue

Answer 43

Be careful of placing yourself too close to the audience - center stage is usually best. You can sit, but avoid sitting for the entire piece

Question 44

Make specific physical, vocal, and acting choices: Monologue

Answer 44

Do not leave these choices to chance - this is how you avoid sameness throughout the piece

Question 45

Know the lines backwards and forwards: Monologue

Answer 45

Stay away from accents

Question 46

Avoid fidgeting or wandery movements: Monologue

Answer 46

They show the actors rather than the character. Steps back weaken the character

Question 47

What happened in the moment before

Answer 47

right before the piece starts?

Question 48

How are you being received?: Monologue

Answer 48

The character (person) you are talking to is the most important element in the room. React to how they are treating you. You need something from them. How does what they do affect what you are doing?

Question 49

You introduction shows the auditors/audience your personality: Monologue

Answer 49

Make sure you are friendly and yourself

Question 50

Commit to the piece: Monologue

Answer 50

Stakes are usually high in a good monologue. Make sure that you are fighting for something and really try to get what you need by saying what you have to say

Question 51

Does your piece build or have an arc?: Monologue

Answer 51

You should finish in a different place than you started. Auditors want to see an actor’s range and that an actor can make choices.