Stanislavski Acting 2

3. the acronym for the circumstances of a scene or play
6. what relationship are really about for actors
8. the meaning underneath the text; behavior and tone that show more than the words alone
10. the more comfortable side of the stage
11. in realism, actors should work from the _______ so that their character has inner thoughts and backstory
12. the part of the SYSTEM that a stretch or meditation would fall under
13. the verb that describes how a line is said
14. what the "magic if" transformed into
15. another way of connecting to a character and is more important in training with the SYSTEM
17. part of the SYSTEM that has actors watch and respond to each other
19. what the actors tried to connect with; these cannot be acted, but instead and actor must try to connect to them
21. why realistic acting began; because up until then, acting seemed ________
22. one way of connecting to our character, is through our own past __________

1. motivated movement on stage
2. how an actor should think and speak to connect with the mind of their character
4. what the character NEEDS
5. the furthest area away from the audience
7. a motivated piece of action, also a mispronounced word, "every BIT of action"
9. a part of a scene that has 1 objective
10. the father of realistic acting
12. country that formalized realistic acting
16. what has happened in the past that effects the character's present
18. a different approach from THE SYSTEM, where the actor tries to live like the character
20. the expelling of emotion while watching a performance, a Greek word