Acting I - Monologue Quiz Review

Edit Answers
1234567891011121314151617181920
Across
  1. 3. the character’s NEED in a monologue
  2. 7. in order to connect to your character, you should focus on the ROOT _______, which is the feeling that is most dominant for the character in that monologue
  3. 8. the person or people you are talking to should in a monologue audition are not real, but your need to ______ they are there
  4. 9. you should say this at the end of your monologue instead of “scene” or “curtain”
  5. 13. the part of the monologue where the character either gets or doesn’t get what they need
  6. 15. true or false – you should where a costume for your character to your audition
  7. 16. this is what JUTS happened before your monologue and gives your character a reason to speak
  8. 17. true or false – you should use the director or casting agent in the audition as the person you are speaking to in the monologue
  9. 18. one way of showing your character is to think about the way they behave _________ with their voice
  10. 19. a verb that is used to describe how to say a line of dialogue
Down
  1. 1. in order to make the monologue’s NEED the most important thing, you may need to “raise the ______” in order to build up the intensity
  2. 2. the very first part of your audition where you tell the director or casting agent your name, the play title and character your will be doing
  3. 4. in order to make your monologue look real, you should have _________ to the person you are talking to
  4. 5. one way of showing your character is to think about the way they behave _________ with their body
  5. 6. the body position stand in most often for a monologue audition
  6. 10. true or false – it is okay to call “line” in a monologue audition
  7. 11. a mispronounced word from Russia; means a “motivated piece of action”
  8. 12. true or false - your character’s emotional state will change throughout a monologue
  9. 14. a technique developed by Stanislavski where you think of a situation that is emotionally similar to your character in order to connect to that emotion
  10. 20. this is the human ability to feel the emotion of someone else; to really relate to the them not just feel FOR them