What does the author note as an 'interesting by-product' that actors discover after rehearsing the exercises?
Explanation
The work on the exercises is meant to bleed into an actor's daily life, creating a continuous habit of observation that becomes a resource for their craft without diminishing their spontaneity.
Other questions
What does the text state is the essence of the endowment exercise in its simplest form?
In the example of endowing a cup of water with the properties of hot coffee, what is the first step an actor should recall before even thinking about the heat?
Why might the author choose to endow a plastic lipstick with color and greasiness on stage instead of using a real one?
In the example of the actress polishing shoes, what was the primary problem with using real black shoe polish in the dress rehearsal?
In the author's performance in 'The Farewell Supper', what food was substituted for the final dessert of whipped-cream torte?
What does the author suggest an actor do if they must thread a needle on stage and it cannot be prethreaded?
How does the chapter define a 'dangerous object' in the context of stage work?
When beginning to experiment with endowment, what does the author suggest doing with an empty nail polish bottle and brush?
What is the minimum number of tangible objects an actor should find to endow for the endowment exercise?
When taking a stiff drink in the endowment exercise, what does the author advise against doing?
According to the chapter, what must be true about the three endowed objects chosen for the exercise?
After mastering the endowments of individual objects, what should an actor focus on to avoid 'checking the accuracy of your execution'?
How can endowing a dull knife with sharpness be further enhanced, according to the text?
According to the example of the rose, what properties must a wax or plastic rose be endowed with to be dealt with convincingly?
What is the ultimate purpose of charging or loading an object with endowments and history?
The author states that by turning one thing into another or supplying missing realities, reality on stage can be what?
What does the author say is the 'most astounding part' of the self-observation that develops from these exercises?
What is explicitly stated as NOT the purpose of establishing habits of self-observation?
Which chapter is the reader explicitly told to reread before starting the endowment exercise?
What does the author state is a predictable outcome for an inexperienced actor attempting to sew on stage?
In the author's example of playing a role in 'The Farewell Supper', what was the main reason for substituting the food?
What physical reflex does the author say will occur if an actor successfully reconstructs the behavior of polishing their nails with a substitute?
Besides physical properties, what other quality does the chapter state can be endowed onto objects?
In the example about preparing a meal while having a bad cold, what objects does the author suggest might need to be endowed?
How will an actor's handling of an expensive knife from Hammacher Schlemmer differ from a cheap one from Woolworth's, according to the text?
What does the text imply by stating, 'Almost nothing in our character’s life is what it is—but we must make it so!'?
What is the second of the four purposes listed for establishing habits of self-observation?
What does the author say becomes a 'distilled reality' through the process of endowment?
When an actor has successfully rehearsed and presented the exercises, what does the author claim they are starting to do?
What is the reason that an inexperienced actor's attempt to thread a needle on stage often results in 'comic relief'?
What does the author suggest to do with a physically dangerous object like a sharp knife during rehearsal?
In the shoe polishing example, how was the problem of the messy polish solved for subsequent performances?
What is the final action described in the detailed example of drinking endowed hot coffee?
When are all the elements of an actor's life endowed with physical, psychological or emotional properties?
How does the author describe the behavior of the actress polishing shoes in the dress rehearsal, apart from the continuity error?
What does the author suggest to give variation to the three endowed objects in an exercise?
What happens to the trust in endowed objects when the exercise is ready for presentation?
The text states that the daily self-observation stemming from the exercises leads to an awareness of what?
What does the author identify as the fourth and final point in what an actor learns from the process of self-observation?
How is the problem of a needle that 'never gets threaded' different from the usual on-stage sewing task?
Which of the following is NOT listed as an example of an 'actually physically dangerous object'?
What is the consequence of dealing with an endowed rose that was a gift from someone you love versus one from someone you detest?
What does the author feel is the 'first exercise you will really enjoy working on'?
What is the third point listed as a purpose for self-observation?
When presenting the endowment exercise, when should you have found trust in your objects?
What specific example of turning an apple into another food is mentioned as a way of comprehending heightened reality?
What does the author mean when she says she is 'rehearsing' off and on every day?
What physical items does the author suggest she would need to repair the damage if real lipstick slipped on stage?
In the author's statement, 'Almost nothing in our character’s life is what it is—but we must make it so!', what is the tool used to 'make it so'?