THEA 232 Chapter all: Acting 232 Final (Audition notes)

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THEA - Theater
Course Code
THEA 232

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Acting Final Guideposts 1. Relationship a. Where is the love? b. You must first acknowledge ​the facts and then address how you feel 2. What are you fighting for?/Conflict a. Don’t show, ​do b. Tactics are your arsenal c. Fighting is an ​active​ verb; want is not 3. Moment Before a. Mental​ state: what are you thinking about in your moment before b. Physical​ state: how do you feel physically c. Emotional ​state: Feelings, relationships, prior experiences d. Pressure cooker/​rubber band​ elements 4. Humor a. Finding the levity b. Character’s sense of humor c. Lightening humor​: what the audience would find funny d. Internal humor​: what the character would find funny e. Survival instinct 5. Opposites a. Sense of conflict b. Provides ​dramatic contrast c. What is the dominant emotional state and in which moments do we see the opposite of that feeling? 6. Discoveries a. Keeps scene moving b. Lightbulb c. Keeps scene present tense d. How does this new information affect what I’m fighting for e. First time​ for your character f. More important in comedy than in drama 7. Communication and Competition a. Talking to not at b. Information is affecting the other person c. We make eye contact and check back in to see if we have communicated the information d. Noise: Variables that affect communication e. Loop f. Relationships- be the better one g. Constantly competing h. What are you competing for? Any time you win, you score a point 8. Importance a. Write about first impressions b. Raise the​ stakes c. Plays are about the most important parts of people’s lives 9. Find the Events a. Dramatic Function b. Audience needs to get major parts of story c. What are the ​major moments​? 10. Place a. Taking in everything about the place b. Part of it is ​factual c. How do you ​feel​ about the place d. What is your ​relationship ​with the place e. Find a place in your life the way you feel about it that the character feels about that place 11. Game Play and Role Play a. Games have ​rules b. Characters can break them, but they have to be aware of them c. Breakfast Club ​titles d. What role do you start with and end with 12. Mystery and Secrets a. All of the ​unknowns b. Subtext c. Secrets i. A secret you do or do not want to be uncovered ii. Under what circumstances would you reveal this secret iii. Is your secret in danger Movement ● Repel ○ You are ​pushed away​ by the actions of another ● Impel ○ To have desire to ​go toward​ something ● Compel ○ There are still forces working on you, but you don’t comply; ​stand your ground Comfort Zone/Negative Space ● Space​ between the object ● Empty space/unfilled ● Comfort zone= arm’s length away ● Animal instinct ● Be in or way out of the comfort zone What are the three general motivations for stage movement? - Impel: to have a desire to go toward something - Compel: there are still forces working on you, but you don’t comply; stand your ground - Repel: you are pushed away by the actions of another What do we think about when we ask a question? - Our most outrageous and unrealistic dreams - How the other person might reply - the worst thing they can say - the best thing they could say What is the "Comfort Zone" or how does negative space effect acting? - Space between the objects - empty space/unfilled - comfort zone: arm’s length away - Be in or way out of the comfort zone - Little negative space implies comfort, tension, or passion, depending on the situation. - Excessive negative space implies distance, divergence, and lack of comradery, depending on the situation. - The comfort zone implies nothing but discomfort and unsteadiness in the actor. Why is "acting between the lines" deadly? - We constantly wait until the end of someone’s lines to
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