#3 Quiz-Wksht (Ch. 5+) CANVAS (THAR 10B)

THAR 10B:  Quiz-Worksheet #3 on Ch. 5 + Ch. 8 excerpts (8 pts.)  (Rev. S25 for Canvas)

Ch. 5 Stanislavski Stretched & Ch. 8 excerpts-Being in a Show I

INSTRUCTIONS

As with other assignments this semester, you have two ways you can complete and submit your Quiz-Worksheet:

Option 1:  Click "Start Assignment."  Select Text Entry submission option.  Then, highlight the quiz heading and all the questions, including the spaces between them, and paste directly into your text entry box.  Then, type your answers directly after each question as you read the chapter.  Please use a different font, point size, or color of type to distinguish your answers from the questions.  When done, click "Submit Assignment."  OR

Option 2:   I have also posted a PDF of the Worksheet Quiz below if you'd like to refer to the questions first, then insert your answers on Canvas after you've read the chapter OR complete your quiz by entering your answers on the PDF, then upload your completed form to Canvas.

10B Quiz-Wksht - Ch. 5 & Being in a Show (F21).pdf Download 10B Quiz-Wksht - Ch. 5 & Being in a Show (F21).pdf 

 

Ch. 5 Stanislavski Stretched (6th Edition:  Ch. 5 - Pg. 127-153  and 7th Edition:  Ch. 5 - Pg. 130-156)

1.  “Stanislavsky has been stretched in many ways. His ideas have been                                           ,

                                  and                                                                         by some.  They have been

                                                                      ,                                                                 and

                                                               by others. “

 

2.  Stanislavski in Russia: Three Artistic “Sons”

In 1-2 sentences for each individual below, note why each of these men were important to acting history.  Then, explain the potential benefit(s) of studying their work today for an actor like you.

Eugeni (Eugene) Vakhtangov

 

 

 

 

Vsevolod Meyerhold:

 

 

 

 

Michael Chekhov:

 

 

 

 

 

3.  Stanislavski in the U.S.A.: Three American Adapters

A.  Three members of the  Theatre became teachers of great consequence… Oddly, each of

them                                                  some part of the System and                                            many

others.  And they each chose                                                                parts.  Nevertheless,

their collective influence on                                                                                      in America has been huge.

 

B.  In 1-2 sentences below, note why each of these individuals were important to acting history. Then, explain the potential benefit(s) of studying their work today for an actor like you.

Lee Strasberg

 

 

 

 

 

Stella Adler

 

 

 

 

 

Sanford Meisner

 

 

 

 

 

 

4.  Postmodern Stanislavski: “There are two major pitfalls in using the System.”  What are they and how to you avoid them?

 

 

 

 

 

 

 

5.  What is a “Stanislavski Bozo” and how do you deal with someone you suspect is one?

 

 

 

Briefly define each term/concept below and explain how it can be used to benefit your acting (2-3 sentences).

6.  Private Audience

 

 

 

7.  Grouping

 

 

 

8.  Substitution

 

 

 

9.  Rehearsed Futures

 

 

 

10.  Suppression

 

 

 

 

11.  List two of the standard Conditioning Forces discussed in the text.  Then, briefly explain how each could be applied to enrich a character you are playing, using specific examples.

 

 

 

 

 

 

Ch. 8 excerpts-Being in a Show (6th Ed.: Ch. 8-Pg. 233-237; 251-254 and 7th Ed.: Ch. 8-Pg. 238-242; 256-259)

12.  (REVIEW) Taking Time:  Take a moment to review the 20 steps of a production process at the chapter’s start.  Then, jump past the Audition pages of Ch. 8 to the section entitled “Rehearsal.”

 

13.  Preparation

  A.  Callboard: How often should you check the callboard, whether online or a physical board?

 

 

  B.  Rehearsal Supplies: What are the most essential supplies to bring to every rehearsal?

 

 

 

14.  Rehearsing Outside of Rehearsal: First, read this section.  Then, answer the two questions below.

A.  Fill-in-the-blank: “A common error by new actors is to                                                         

yourself so tightly that you can fit in rehearsal but                                                             

else each day.”

B.  Other than the answer to A., select one point from this section you didn’t realize an actor needed to do outside of rehearsal and why you think it would be beneficial.

 

 

 

 

15.  Rehearsal Behavior: Select one of these pieces of advice that you didn’t know (other than “Stage Shorthand”) or found particularly interesting.  Explain it below.

 

 

 

 

 

16.  Stage Shorthand: You are the actor playing Chance.  Record your director’s blocking instructions quickly in your script below.  This is what the director tells you:  “Chance, start to exit through the stage right door on “I’m out of here!”. Stop when Jackson says, “Hey now, hold up.” Turn around slowly.  After Jackson says, “Look, I’m sorry…okay?” cross to the chair down left and sit on “Whatever.”

NOTE:  Your answer to this question needs to be done by hand.  To answer it, it may require that you do your stage shorthand on a separate piece of paper.  (If you can't print out the PDF, hand write these lines below and then insert your Stage Shorthand), scan or photograph it, and insert the photo as a link.)

 

                                   Chance:  I’m out of here!

                                    Jackson:  Hey now, hold up.  (pause)  Look, I’m sorry…okay?

                                    Chance:  Whatever.