| Front | Back | |
|---|---|---|
| internal aspects | feelings and emotions of the character | |
| centering | locating the place roundly in the middle of the torso where all the lines of force in the body come together | |
| physical acting | the use of physical movement and vocalizing to portray a story | |
| viewpoints theory | a theory combining elements of dance and stage movement with concepts of space and time | |
| tai chi | a graceful gentle exercise regimen performed widely performed by men, women, and children in China | |
| emotional recall | a tool of recalling sensory impressions of an experience in the past and the emotions associated to help performers achieve a sense of emotional truth onstage | |
| superobjective (through line) | The one thing the character wants above all else during the course of the play | |
| ensemble playing | the playing together of all performers | |
| circle of attention | the extent or range of concentration of a performer while onstage | |
| given circumstances | the situation in which a character exists | |
| magic if | a word that transforms our thoughts, causing us to imagine ourselves in virtually any situation | |
| Stanislavski's technique for realistic acting | relaxation concentration and observation importance of specifics inner truth action onstage: What? Why? How? (having specific purpose) through line of the play (super objective ensemble playing | |
| realism | a form of drama that closely resembles what people can identify with and verify from their own experience | |
| Three challenges of acting | making characters believeable- inner truth physical acting-the use of the voice and body synthesis and integration- combination of inner and outer skills | |
| conscious raising | making people aware of social problems | |
| role playing | in everyday life the acting out of a particular role by copying the expected social behavior of that position | |
| imitation | to simulate or copy behavior observed in real life |