What action might a 'mouse' provoke in an actor, according to the examples on page 187?
Explanation
This question tests the recall of another specific example used to demonstrate how an external stimulus (a mouse) prompts a clear, playable action (jump).
Other questions
According to the text, what is the ultimate consequence if an actor's preparatory work, including homework and rehearsal, does not lead to genuine action?
Why does the author advocate for striking the word 'attitude' from an actor's vocabulary?
What advice does the author give for dealing with descriptive adjectives like 'angrily' or 'sadly' in a script's stage directions?
What explanation did playwright Clifford Odets give the author for including so many descriptions in the published version of 'The Country Girl'?
How does the author define the word 'how' using Mr. Webster's definitions to guide an actor towards action?
What does the author state is the direct result of an athlete or actor watching themselves during a performance or contest?
The author divides actions into three categories that correspond to the objectives and obstacles. What are these three categories?
In the example from Chekhov's 'The Cherry Orchard', what is a suggested overall action for Lyubov Andreyevna's objective 'I want to fight every unpleasant reality'?
What does the author state is the defining characteristic of the unforgettable theatrical memories of great actors like Duse and Barrymore?
What is the author's definition of what 'acting' truly is?
Instead of the word 'attitude', what alternative words does the author suggest using to condition the nature of an action?
What was the accidental action during a rehearsal for 'The Country Girl' that the author found so helpful she asked the stage manager to ensure it happened every night?
The author states that 'settling for the mood is as dangerous as going for an attitude,' and that a mood, when spelled backwards, is what?
According to the author, what propels an actor from one 'doing' to the next?
What is the author's advice regarding how to work on a play's actions?
In the example from 'The Cherry Orchard', what is the main objective for Lyubov Andreyevna in Scene One?
What unforgettable action of John Barrymore's Hamlet is cited at the end of the chapter?
What is the author's view on Shakespeare's use of descriptive adjectives for the actor?
Which of the following is NOT something the author says 'real action' is?
According to the author, what reveals your character?
What does the author suggest might happen if an actor tries to 'get into the mood'?
Which of the following is an example of an active verb the author suggests as a real doing?
What is the author's view on an actor who is 'really in action'?
What is defined as 'what acting is all about' in the chapter?
In the example from 'The Cherry Orchard', what is the first beat for Lyubov Andreyevna in Scene One?
What is the author's core criticism of an actor who predetermines an attitude toward a person, object, or event?
Why does the author argue that another actress playing Georgie in 'The Country Girl' should not be asked to repeat the action with the inverted sleeve?
The author uses a cat following lint as an example of being in powerful action even before what?
What does the author state is the difference between 'really doing something' and mechanically doing it?
In the author's final analogy, what do the 'beats' of a scene represent in a musical symphony?
What is the author's advice regarding the use of active verbs in the acting process?
The author states that 'The selection of the actions must tell the story of' what?
An experienced actor, according to the author, learns to read a play for what, without the descriptions?
What action might the cold make an actor do, according to the examples on page 187?
When an actor is executing an action, what does the author say they should leave themselves wide open to?
What is the author's advice about dismissing a potential action during the rehearsal process?
In the 'Cherry Orchard' example, what are the obstacles Lyubov faces in the first beat of Scene One when she wants to get into the nursery?
The author asserts that she has 'assiduously avoided the word attitude throughout this book' for what primary reason?
What does the author suggest you do to get someone's attention, instead of just shouting at them?
What is the author's final piece of advice in the 'Cherry Orchard' example, regarding the action for the first beat?
What does the author identify as the result of a 'misguided actor' who 'rides or floats toward' an objective with a predetermined attitude?
The author states that if you select adjectives as part of your acting score, you will simply make faces, strike poses, and guarantee what?
In the author's view, an actor's selection and execution of actions will be the determining factor of what?
Why do many actors and teachers reject the word 'how', according to the author?
According to the author's sports analogy, what is the 'Curtain!' moment for both the athlete and the actor?
What positive approach does the author recommend when searching for actions?
In the author's analysis of 'The Cherry Orchard', what is Lyubov's fourth overall character objective?
What does the author suggest is the problem with 'underacting'?
In the final musical analogy, what part of the symphony do the 'phrases' complete?