Acting 2 - Stanislavski

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