Outdoors

What is the primary responsibility of the actor regarding an outdoor setting on stage?

To convincingly portray an outdoor scene, Part One of the chapter states that the actor must deal with which combination of elements?

Which previously discussed acting technique is explicitly referenced as essential for finding the physical adjustments in the 'Outdoors' exercise?

In Part One of the 'Outdoors' exercise, what must an actor often create to define the space around them?

What is the central problem that Part Two of the 'Outdoors' exercise is designed to address?

What is a common negative reaction of even highly skilled actors when they are faced with a stage setting that is devoid of tangible objects?

The exercise in Part Two suggests a scenario where the actor is waiting. What is a key condition of this waiting scenario?

In the Part Two exercise of waiting in a place with few objects, what specific action is the actor told to avoid doing, as it would bypass the real problem of the exercise?

According to the detailed example in Part Two, at what time does the actor arrive at the 6th Avenue and 23rd Street subway stop?

In the subway waiting example, what are the secondary occupations the actor engages in while waiting for the train?

What is the new experience an actor should have for two or three minutes upon successfully completing the Part Two 'Outdoors' exercise?

The text identifies a key reason for the difficulty in applying the 'Outdoors' exercise to a character on stage. What is this reason?

What is the likely level of importance of the objects an actor places on their four fourth walls when creating an outdoor scene?

When practicing the Part Two exercise, the actor discovers they are secondarily occupied. What are the sources of this secondary occupation?

According to the text, what is the key outcome of successfully completing the 'Outdoors' exercise described in Part One?

Part Two of the chapter notes a consequence of a playwright simply stating a location like 'A street in Verona' with no tangible objects. What is this consequence for the actor?

When performing the waiting exercise in Part Two, what specific technical problem is the actor advised to avoid?

The example of waiting for a subway in Part Two concludes by referencing Vladimir and Estragon from 'Waiting for Godot'. What is the implied connection?

What does the text state conditions an actor's initial entrance or physical being (standing or sitting) in the Part Two 'Outdoors' exercise?

In the Part Two exercise, what must the actor examine with detail as an object in itself?

According to the initial list of 'The Ten Object Exercises', what is the second sub-point (b) for the 'Outdoors' exercise?

What kind of objects does the text in Part One suggest an actor should place on their imaginary fourth walls to create an outdoor space?

The text provides an example of a physical adjustment an actor might become aware of in their daily life after successfully completing the 'Outdoors' exercise. What is this example?

In the Part Two waiting exercise, what is the actor's primary action?

The 'Outdoors' exercise aims to free the actor from the tension that makes them feel like an 'actor' rather than a 'human being'. What does the text identify as the source of this tension?

In the detailed subway example from Part Two, what specific object does the actor carry with them?

What is the actor's immediate destination in the subway waiting example from Part Two?

What future event, occurring in half an hour, is on the actor's mind in the subway example?

In the Part Two exercise, what must the actor construct well so that their outer focus is free to go where it wants?

The text states there is a continuous flow of attention and adjustments between different types of objects in the Part Two exercise. This flow occurs between which categories?

Part One of the 'Outdoors' chapter asks the actor to find physical adjustments to what is under them. Which of the following surfaces is NOT listed as an example?

To illustrate finding sensations and adjustments to weather, the text in Part One contrasts two scenarios. What are they?

In Part Two, the text describes a situation where the actor is 'stripped away' from certain things to get to the root of the problem. What are they stripped away from?

Before an actor selects a particular place and circumstances for the Part Two exercise, what are they advised to do first?

What does the text suggest is the outcome if an actor does not schedule specific rehearsal hours for practicing the awareness gained from the 'Outdoors' exercise?

The introduction to Part Two mentions that in all prior exercises, actors explored using objects to achieve an objective. What kinds of 'seemingly unimportant' objects are listed as examples of this?

The text describes a difficulty in applying the Part Two exercise to a character on stage. This difficulty arises because the actor must make the character's world as real and familiar as what?

What is the ultimate purpose of an actor bringing the outdoors on stage, as described in Part One?

In the subway example from Part Two, what is the first thing the actor does after looking for the train and having 'no luck'?

The text warns that an actor cannot give their surroundings a 'regimented order' in the Part Two exercise. What is the consequence of doing so?

By dealing with the sensory relationship to space and nature, the actor aims to understand what ultimate outcome?

Why is it considered problematic for an actor to simply sit on a bench while practicing the waiting exercise in Part Two?

In the detailed subway example from Part Two, what is the described condition of the weather/season?

How many other people are described as being on the subway platform with the actor in the Part Two example?

The final sentence of Chapter 17 encourages the actor to learn to see what they do in a specific situation. What is that situation?

What is the implied difference between using objects for a primary purpose versus using them in a secondary, involuntary way, as described at the beginning of Part Two?

When a stage setting lacks tangible objects, the text states that actors often try to protect themselves from a specific feeling. What is this feeling?

What is the actor specifically instructed to search for in Part One of the 'Outdoors' exercise concerning the imagined objects on the fourth walls?

The text suggests that even in a routine waiting scenario, an actor's life is defined by a continuous flow of attention. Which of the following is NOT part of that described flow?

What fundamental state of being does the chapter 'Outdoors' ultimately aim to help the actor achieve on stage, particularly in settings with minimal props?