Immediacy

According to Part One of the 'Outdoors' chapter, what must the actor do to bring the outdoors on stage with them, no matter how suggestive the set design is?

What is the core problem that Part Two of the 'Outdoors' chapter aims to tackle for the actor?

In the context of an outdoor scene, the text suggests an actor must often create how many 'fourth walls' to surround themselves?

When an actor is stripped of tangible objects in a scene, what does the text say they will be secondarily occupied with while waiting?

What time is it in the specific example of waiting at the subway stop?

In the subway waiting example, what memory does the actor recall about a friend?

What is the primary reason for the difficulty in applying the 'stand and wait' exercise to a character on stage?

When creating an outdoor scene, what kind of importance will the objects placed on the 'four fourth walls' most likely have?

To what chapter does the text refer the reader for finding physical adjustments through remembered sensations for outdoor scenes?

What specific action does the actor in the subway example take regarding a crack in the cement?

What does the text suggest an actor will bypass if they simply sit on a bench for the duration of the 'waiting' exercise?

What are the specific street coordinates of the subway stop in the chapter's main example?

The text states there is a continuous flow of attention and adjustments between inner and outer objects, as well as between which other two types of objects?

The quote 'How much you do while you think you do nothing!' refers to which characters?

What conditions an actor's initial entrance or physical being (standing or sitting) according to the text?

What new experience should an actor achieve for two or three minutes during the 'stand and wait' exercise?

In Part Two of the 'Outdoors' chapter, what does the text claim happens to even highly skilled actors in scenes with no tangible objects?

What physical object does the actor in the subway example examine and consider getting new ones of?

What should an actor avoid to prevent dealing with objects of attention artificially and with tension?

Upon successfully completing an exercise about the relationship to nature and space, what might an actor become aware of even when looking out a window into the street?

What is the primary action of the actor waiting on the subway platform?

The text provides examples of specific stage settings that present the problem of spacelessness. Which of the following is NOT one of the examples given?

What must an actor do to achieve a free-flowing attention from one object to another, according to the chapter?

What is the concluding piece of advice given to the actor at the very end of the chapter?

In Part One of the chapter, what psychological aspects of being outdoors are mentioned?

Before beginning the 'waiting' exercise in Part Two, what does the text advise the actor to do?

What is the stated weather condition in the subway platform example?

What contrast does the text draw between being a 'human being' and being an 'actor'?

In Part One, what example of physical adjustment is given for an actor wanting to see 'way down and out' from a window?

What is the actor's relationship to the person or vehicle they are waiting for in the general setup for the Part Two exercise?

Which of these specific textures or surfaces is NOT mentioned in Part One as something an actor might be walking or sitting on in an outdoor scene?

Which of the following is an example of an imagined visual object an actor might place on their fourth wall in an outdoor scene, according to the text?

What is the reason the actor in the subway example goes to the edge of the platform and leans forward?

What must an actor do to tackle the problem of spacelessness 'at its roots,' according to the chapter?

What tangible items is the actor in the general setup for the Part Two exercise permitted to have?

The difficulty of applying the 'stand and wait' exercise arises because the actor has failed to make the garden of his 'palace' as real and precise as his what?

What must an actor avoid indicating reactions to in the 'stand and wait' exercise?

According to the chapter, the more precise and total your surroundings and circumstances are, the easier it will be to achieve what?

In Part One, which weather condition is NOT listed as an example for the actor to find sensations and adjustments for?

What is the primary way the actor in the subway example checks for the train after their first attempt?

The text states that the objects an actor deals with should have been discovered through exploring their use for a primary purpose or what other way?

What specific piece of clothing does the actor in the subway example wear in addition to slacks and a sweater?

When does the difficulty in applying the 'stand and wait' exercise to a character on stage sometimes occur?

The feeling of unreality or spacelessness is something that even whom can become tense from?

What physical feature of the subway platform draws the actor's attention in the example?

The chapter suggests exploring circumstances where you are having a sunbath, a picnic, or are waiting for a friend while what is happening?

When the actor fails to make his 'costume' his clothes, he also fails to make the objects from past, present, and future as real as what?

In Part One, what is the consequence of successfully completing an exercise on the relationship to nature and space?

What does the actor in the subway example do after failing to see or hear the train?

For the 'stand and wait' exercise to be a new experience, the text says the actor should be for two or three minutes without feeling boring, tense, or what other feeling?