: A contrived, copied outward expression of an emotion that has no specific relation to the character being played. The aim of an acting technique is to avoid the clich.Concentration: An important aspect of an actors success is his ability to remain focused on the reality of the stage. This allows his body and emotional responses to be more free and spontaneous.The Method: Derived from Staninslavskis "System," the Method has come to refer to Strasbergs interpretation and training program for actors. It is based on the actors cultivation of an inner and outer technique .Objective: The characters goal within each scene. An actor must know and understand what the character wants at each point in the play. The super-objective is the overriding task the character wants to accomplish, and the objective is each small step that he takes toward that goal.Psychological gesture: Chekhovs term for the outward manifestation of a characters psychological state. Rhythm: The underlying pace or timing of a scene. This does not necessarily mean the speed of the dialogue. It involves the flow of emotional interaction.Sense Memory: The recall of physical sensations and the ability to reproduce these on stage.Substitution: Similar to Strasbergs "affective memory," but used in a broader sense by teacher Uta Hagen.Subtext: The inner meaning and emotional underpinning to stage dialogue that stems from the circumstances of the characters.The Will: The characters ability to envision the attainment of his objective. ORGANIZATION OF THE STUDYThis study consists of three chapters and an appendix. Included in the first chapter are explanations of the problem along with definitions of relevant terms and an explanation of the organization of the study.Chapter two reports a review of the available data. Included are reasons as to why it is important for an actor to have a solid technique, and how one is to choose a certain method. Constantin Sta...
