The chapter describes the author's early, mistaken attempts at emotional recall, where she would work herself into a 'near trauma offstage'. What sensation did this result in when she came on stage?
Explanation
This question tests recall of a specific detail from the author's personal narrative of her own learning process. The 'moving in glue' image vividly illustrates the negative consequences of the wrong approach to emotional preparation.
Other questions
What is the primary problem that emotional memory or emotional recall is intended to solve for an actor?
How does the chapter differentiate between 'emotional memory' and 'sense memory'?
According to the chapter, what is the common but incorrect tendency of a beginning actor trying to produce tears?
What is the 'release object' as described in the chapter on Emotional Memory?
Who did the author credit with providing the psychological explanation for the 'release object'?
What is the recommended exercise to discover a personal 'release object' for an unhappy event?
What warning does the chapter give regarding the use of past experiences for emotional memory?
The chapter states that acting is not a substitute for which profession?
Besides remembered inner objects, what else does the chapter suggest can generate strong emotions?
How many technical reasons are listed in the chapter for why a recalled emotion might 'wear out' or lose its freshness?
According to the list of reasons why an emotion might fail, what does it mean if an actor is 'stopping to demand that you feel'?
What does the chapter suggest is the problem with anticipating 'how or at what second the emotion should manifest itself'?
The author concludes the chapter by quoting Hamlet. In the line 'Could force his soul so to his own conceit,' what does the word 'conceit' mean?
In the chapter's view, why is the process of recalling an emotion difficult for an actor?
What is the consequence of an actor dwelling on an emotion for its own sake, rather than for furthering stage action?
What does the author mean when she says that for an actor to use a past experience, they must have 'distance' from it?
When using the example of Uncle Vanya discovering Yelena and Astrov, what is the purpose of the actor recalling a 'red apron' from a past rejection?
In the context of the chapter, what is defined as a state to be 'avoided by the actor at all costs'?
What physical manifestation does the author's intuitive discovery of a release object NOT include as an example?
What happens in the feedback loop when an actor uses a physical action like banging a fist on a table?
When an actor weeps with real tears on stage but the audience only thinks, 'Oh, look, real water!', what has the actor failed to do according to the book?
Which of the following is NOT listed as one of the five technical reasons an emotion can lose freshness?
What is the ultimate purpose of recalling an emotion in the service of a play?
According to the chapter, an emotional release in real life occurs when something happens that momentarily suspends our what?
The chapter gives an example of the author having an experience in the morning that she was able to use in a performance by that evening. What concept does this example illustrate?
What does the 'censor' in our minds do, according to the psychological explanation provided in the chapter?
The author states that if the character an actor is portraying is self-indulgent emotionally, what must the actor's selection still do?
Why does the author use the example of a 1938 experience with the death of a loved one?
What is the consequence of endlessly digging for past events during rehearsal, according to the chapter?
The phrase 'Don't lose control' is attributed in the chapter to what internal mechanism?
Which of these is an example of an emotional memory as defined in the chapter, rather than a sense memory?
When an actor successfully uses an emotional recall technique, what should they eventually do with the 'trigger object'?
What kind of 'object' is an 'inner object' as described in the chapter?
Which of the following phrases best summarizes the main idea of the chapter on Emotional Memory?
The text states that our emotional reactions are based on a 'pile up from our past.' What does this imply for an actor's work?
When an emotion is recalled, its purpose is to be a genuine revelation of a human being. This is explicitly contrasted with what?
What is the result of a teacher forcing an actor to deal with a buried trauma like their response to the death of a parent?
According to the logic presented in the chapter, how can the simple act of tickling someone gently generate emotion?
What is the key difference between the author's unusable 1938 memory and the usable 'in the morning' memory?
In the Hamlet quote, the player's 'whole function suiting / With forms to his conceit' demonstrates what principle?
The search for emotional release must go deeper than a direct substitution when the direct substitution is not what?
What is the actor's goal when building a 'storehouse of little trigger objects'?
Which of the following would be considered 'anti-art' according to the author's opinion in this chapter?
An emotional response can be accompanied by or produce physical sensations. Which example is given in the text?
Why must an actor avoid 'leaving the stage' mentally during a performance to search for a stimulus?
The chapter suggests that if a motivated action of pleading for forgiveness is performed, it may produce what emotional result?
What does the author suggest is the reason actors should not question the logic of using a seemingly unrelated object from their own experience for a character?
When an actor has found a release object, what is the final step to make it useful in a performance?
What is the fourth technical reason listed for why a recalled emotion might lose its freshness?