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Stage right
The actor's right side of the stage
Stage left
The actor's left side of the stage
Downstage
Area closer to the audience
Upstage
Area farther from the audience
Center stage
Middle of the stage
Apron
Area in front of the curtain on a proscenium stage
Wings
Offstage areas on either side
Blocking
Planned movement of actors on stage
Cue
Line or action that signals an actor to speak or move
Projection
Volume of the actor's voice
Diction
Clear pronunciation of words
Inflection
Variation in vocal pitch
Body language
Communication through movement, posture, and facial expression
Ad-lib
Making up lines on the spot
Improvisation
Creating a scene without a script
Objective
What a character wants
Obstacle
What prevents the character from achieving their objective
Tactics
Actions a character uses to achieve their objective
Substitution
Using personal experiences to connect to a role
Business
Small actions that reveal character (e.g., eating, smoking)
Acting is ephemeral
It exists only in the moment and cannot be exactly repeated
Stanislavski
"Father of acting" who created a system for developing characters
Given circumstances
Facts about the character's situation (who, what, where, when, why)
Magic if
Asking "What would I do if I were in this situation?"
Subtext
Underlying meaning beneath spoken dialogue
Unit
A section of a script divided by shifts in action or objective
Objective vs super objective
Objective is short-term goal; super objective is overall goal
Through-line of action
The main thread connecting all actions toward a goal
Sense memory
Using physical senses from past experiences in acting
Emotion memory
Using past emotional experiences to create performance
Empathy
Understanding and sharing another person's feelings
Analysis (acting)
Breaking down a script to understand character and actions
Meisner technique
Focuses on reacting truthfully to scene partners
Repetition exercise
Meisner technique where actors repeat phrases to build authentic reactions
Lee Strasberg
Founder of Method Acting emphasizing emotional recall
Method acting
Using personal emotions and memories to create a role
Stella Adler
Focused on imagination and given circumstances rather than emotional recall
Uta Hagen
Emphasized substitution and realism in acting
Substitution (Hagen)
Connecting personal experiences to the character's situation
Improvisation rule 1
Say "yes, and" to build scenes
Improvisation rule 2
Stay present and support your partner
Character internal aspects
Thoughts, emotions, motivations
Character external aspects
Physical traits, voice, movement
Social status
A character's rank or position in society
Relationship
How characters connect to each other
Open scene
A scene with minimal dialogue open to interpretation
The Proposal
A farce by Anton Chekhov
Farce
Comedy with exaggerated situations and physical humor
Anton Chekhov
Playwright known for tragicomedy and realistic characters
Almost Maine
A comedy by John Cariani
John Cariani
Playwright known for Almost Maine
A Raisin in the Sun
Drama by Lorraine Hansberry about a Black family's struggles
Lorraine Hansberry
Playwright and civil rights figure
Tragicomedy
Blend of tragedy and comedy
Stanislavski system
Method of acting focusing on realism and character psychology
Group Theatre
Influential acting group where Strasberg, Adler, and Meisner worked
Actor's Studio
Training center for Method Acting
Empathy in acting
Helps actors connect emotionally with characters
Given situation sheet
Tool to analyze character circumstances and motivations
Three columns (given situation)
Facts, interpretation, and acting choices
Rehearsal process
Steps actors take to develop character and performance
Focus on partner
Key idea in Meisner acting
Truthful acting
Acting that feels real and believable
Ephemeral art
Art that only exists in the moment (like theatre)
Audition
Trying out for a role
At rise
When the curtain opens
Places
Command for actors to get ready
Overlap
Characters speaking at the same time