Acting 2 - Stanislavski

12345678910111213141516171819
Across
  1. 2. the behavior underneath the dialogue
  2. 5. Stanislavski switched approaches and used ____________ memory to help actors safely
  3. 7. Stanislavski discovered that using _______ actions can help truthfully generate emotions
  4. 9. Stanislavski realized an actor could not truthfully "act" these out, they must be generated
  5. 11. Stanislavski discovered this was an essential tool for actors to train as it has limitless possibilities
  6. 12. the country that Stanislavski was from and worked in
  7. 13. this was a technique to connect an actor to a character, known as the "_________ if"
  8. 14. a mispronounced word by the Americans; literally is a motivated piece of action
  9. 16. also important in Stanislavski's training was using and drawing from the actor's own ____________
  10. 17. a character's NEED; the future for the character
  11. 19. a verb that describes how a line should be said, also a way to generate truthful emotion
Down
  1. 1. part of the physical that can generate emotions are facial ____________
  2. 3. what the word "act" literally means
  3. 4. these are referred to as the CROW; Stanislavski called them "Given ____________"
  4. 6. things from a character's past that moves them to act as they do now
  5. 8. in order to make the NEED more interesting, an actor should always "raise the ________"
  6. 10. Stanislavski wanted actors to work from the ______ out, rather than the other way
  7. 15. the style of acting that Stanislavski helped create
  8. 18. at first Stanislavski devoted much of his time to emotional _________ in order to generate emotion