What is the result of attempting to set a table for important guests without an obstacle, as described in the chapter?
Explanation
This question assesses the reader's understanding of the counterintuitive point made in the chapter: that the absence of an obstacle makes an action harder for an actor to perform truthfully.
Other questions
According to the chapter, what is the imperative first step for an actor, given that conflict is at the root of all drama?
What does the old adage mentioned in the chapter suggest about something that is difficult to obtain?
The chapter lists a simple example of selections for an obstacle, specifically for the task of setting a table for important guests. How many distinct sources for this obstacle are itemized?
In the example of setting a table for important guests, what source of obstacle is described as coming from a 'pampered life surrounded by servants'?
What does the chapter advise an actor to do if an obstacle is not inherently clear in the given circumstances of a scene?
In the author's demonstration where she has just been proposed to under seemingly ideal circumstances, what does she use as an obstacle to create a genuine moment of joy?
The chapter suggests that even a character who has to sleep during a play can establish an obstacle. Which of the following is given as a potential obstacle for sleeping?
What is the primary way an obstacle will influence an actor's performance?
According to the chapter, which of the following is NOT listed as a potential source for an obstacle in a scene?
In the table-setting example, what kind of obstacle would be represented by the fact that the dinner is a surprise and the husband is asleep in the next room?
What is the stated effect on an actor's will when they are in the struggle to overcome an obstacle?
What immediate physical reaction does the author use as an example of what happens when the door you want to open is stuck?
What condition must an obstacle always meet, even if it is one the actor has to find for themselves?
What happens in the first demonstration described in the chapter, where the actor has ideal circumstances for a marriage proposal and is told to 'Jump up in the air for joy' without an obstacle?
The chapter ends by referencing a famous line from Hamlet, 'To sleep, perchance to dream. Ay, there’s the rub!' What concept from the chapter does this quote serve to illustrate?
In the table-setting exercise, which source for an obstacle involves having 'only five minutes' to complete the task?
According to the chapter, what defines the state where 'there is no drama'?
What are the three key questions an actor should pose to themselves to find the drama in a scene?
In the table-setting example, if the dishes are 'chipped, cheap, don’t match, or there aren’t enough to go around,' which category of obstacle does this fall into?
What is the consequence when an actor successfully uses gravity as an obstacle while jumping for joy?
The chapter warns against hunting for a score that will match a certain type of melodrama. What is the title used as an example of what to avoid?
In the table-setting exercise, if the room is small and the table does not have enough space, which source of obstacle does this represent?
What is the dictionary definition of 'obstacle' that is provided at the start of the chapter?
According to the chapter, an obstacle in an audition scene could be that your main objective is to win the part, but what concurrent obstacle is mentioned?
What is the 'immediate objective' mentioned in the audition example that is hindered by a broken mirror?
In the table-setting exercise, if the guests are your husband's 'very fussy' employers or relatives that you need to impress, which source of obstacle is this?
Which of the following is an obstacle of 'Character' as described in the table-setting example?
What does the chapter claim becomes evident in the attempt to overcome an obstacle?
In the table-setting example, what is the obstacle of 'Weather'?
The chapter states, 'the obstacle itself will strongly influence' something. What is it that the obstacle influences?
What is the reason given for why an actor might feel like a fool when told to 'Jump up in the air for joy' without an obstacle?
The chapter lists a comprehensive set of sources for obstacles. From which of these sources does an obstacle spring if your competitor for a part is also your best friend?
According to the chapter, 'the clash of wills' is equivalent to what?
What is the final, ninth item on the list of obstacles for the table-setting exercise?
If an actor is playing a character from a slum who has recently joined the middle class and is uncertain of the proper placement of flatware, this obstacle comes from where?
The author continuously hears actors ask, 'But is there always an obstacle?'. What is the definitive answer provided in the chapter?
When the author decides gravity is her obstacle in the proposal demonstration, what does she do?
What does the chapter suggest is the root of tragedy, comedy, satire, and farce?
Which of these is NOT listed as a source of obstacles that are inherent in, or spring from, the given material?
What effect does the author claim the process of testing an objective against an obstacle from various sources have?
The chapter provides an example of a character who wants to become a great artist and maintain high ideals. What is the obstacle presented for this overall objective?
In the author's demonstration about receiving a marriage proposal, which of the following is NOT listed as one of the 'seemingly ideal' circumstances?
When establishing an obstacle for a character who has to sleep, what aspect of the bed is mentioned as a potential problem?
What is the relationship between an obstacle and a character's needs, according to the chapter?
What is the author's stated reason for NOT recommending that an actor hunt for a score that matches 'The Perils of Pauline'?
The chapter begins by stating that if a problem is absent in achieving a wish, 'there is no drama.' It then states that 'Consequently, finding the obstacles to my objectives becomes' what?
When actors continuously ask if there is always an obstacle, the author answers 'Yes!' and adds that the obstacle must always be what?
In the example where a character must sleep, what is 'the rub' according to the quote from Hamlet?
What does the author suggest will happen to an actor's concentration and sense of time when they perform an action without an obstacle?