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A way of using time and space onstage. Training developed out of the postmodern dance world; it's a vocabulary, a set of tools, for actors to focus their awareness on space and time. It generates visual, visceral, and dynamic responses on the part of the actor that contributes to the exploration of a play.
The distance relationships in space. Distances in space which include the relationship between the actor to the other actors onstage, the relationship between the actor and the audience, the relationship between the actor and the architecture of the stage, stage props and theatre space, and the relationship between the actor and him or herself. The foundation for all the rest of the viewpoints.
Physical shapes made by the actor in relationship to stage and theatre space and other actors. Visual body poetry in motion.
The physical reality of the theatre space, the stage space, the architectural details of the set and the space itself, furniture, and props. Architecture can announce the other viewpoints like a megaphone.
The speed within which an event takes place onstage, either individually or in the group or atmosphere.
The actor or group of actors' spontaneous, first impulse response to an event that occurs onstage. The ability to respond kinesthetically through the full body system is an essential element of the actor's instrument.
The collaborative group of actors working on a piece of theater.
What the character wants, needs, or must have; his/her quest at any given moment. What the character is attempting to achieve through his/her actions. The goal of the character. Specific objectives exist for each beat of a scene or play. An example objective would be "I want him to kiss me" or "I want her to apologize."
Softening the eyes in order to see as much as possible in peripheral vision.
actions a character uses to achieve their objective. Tactics should be articulated in playable verb form; "to intimidate," "to threaten," "to seduce," etc. Avoid describing general states of being like "to be mean" or "to be sarcastic." Rather make them active such as "to attack" and "to belittle."
the "stage business." Some examples might be to fold laundry, preparing a meal, paying bills, getting ready for a date, etc.
The thing that prevents a character from getting what they want. An obstacle may be internal or external. For example, getting a hug: an external obstacle might be that people keep coming in and out of the room and there is no privacy for intimate moments; an internal obstacle might be fear of rejection.
the overall context of the play (geographical location, time-year, season, time of day, social, political, religious environment); previous action (what has occurred prior to the beginning of the scene or play); the kinds of relationships the characters have with each other; and the polar attitudes of the principal characters, both in the beginning and at the ending of the play.
the true thoughts and feelings that exist beneath the surface of the words. An actor's specific and subjective interpretation of the dialogue.
An actor's textual analysis of a scene or a play. The division of the text into beats and the identification of specific actions and objectives.
when the actors heighten the circumstances in a scene.
when all of the actor's dialogue has been completely memorized and he no longer needs a script.
the manner in which a scene or play is staged. An actor's movement on stage that includes all stage business and physical activities.
the executed scenic design on stage
a second audition. An actor who is "called back" after the initial audition is being given serious consideration for casting.
the imaginary wall that divides the actors and stage from the audience.
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