Talking to Yourself

According to the text, what is the fundamental definition of a monologue in dramatic literature?

How does the text define a situation where a character is called on to talk to the audience?

What is identified as the primary reason why we talk to ourselves?

When performing a monologue where the character is having a verbal battle with an absent person, how should the actor's physical life relate to the words?

What is the common mistake actors make, highlighted by the example of Juliet on her balcony?

What is the author's strong recommendation regarding the physical and verbal aspects of preparing a monologue scene?

According to the text, a verbal life can never have freedom or precision if the body from which the words spring is what?

How should an actor handle the 'strange verbal exaggeration' that might be discovered when observing how people talk to themselves?

The text mentions books of inaccurately titled 'monologues'. What do these books typically contain?

What is the key reason that when we talk to ourselves during a crisis, the story lacks sequence and outer logic?

When the author says to determine what you are doing 'besides talking to yourself,' what is the underlying principle?

What type of fantasy self-talk is exemplified by the opening of Elmer Rice’s 'Dream Girl'?

The monologue exercise presented in the chapter is intended to be a starting point for what kind of dramatic material?

In the example of fantasizing an argument with an agent, what does imitating the agent ('Really, you did that rather well...') represent?

The text states that a monologue has always depended on what?

Why does the author suggest that an actor should not enter a room 'in order to talk to yourself'?

What is the actor's job regarding words that in life might be mutterings, according to the text?

Verbalizing 'Where's my key? I've got my gloves' while rushing out of the house is an example of what kind of self-talk?

What is the key difference between how an actor's physical life should be portrayed during a monologue versus how it might be in a silent film?

The text suggests that if you think you never talk to yourself, you should start by exploring what?

In a monologue, if a character's activities are temporarily arrested by the verbal life, what does this imply?

The chapter states that the monologue is an 'old fossil'. What does this imply about its history?

What is the consequence of an actor building their monologue only around the words and forgetting their physical presence?

Why must an actor find a specific physical task to be doing 'while waiting' for something in a scene?

The chapter suggests verbalizing fantasies is a way to cope with what?

When an actor says, 'You do not sit down or rise to talk to yourself,' what is the core principle being communicated?

If an actor is nervous about presenting the 'strange verbal exaggeration' of self-talk, what will make the acting remain truthful?

What does the text say can talk back to a character in a dialogue, even without words?

When we talk to ourselves about a crisis, our words deal with what disturbs us without the outer logic that would be necessary if what were true?

According to the text, a monologue is NOT which of the following?

What does the text say is the main purpose of verbalizing a grocery list, such as 'Gotta remember the milk. Oh, yes—cranberry juice'?

In the example of Juliet's monologue, where is Romeo located?

Why is it important for an actor to determine what they are doing 'besides talking to yourself'?

When does the text say an actor's performance of a monologue will 'definitely be bad acting'?

The text argues that we do not 'literally, physically act out the words' in a monologue. What example is used to support this?

What does the text claim about the nature of most self-talk, such as comments to and about yourself?

What is the primary danger of an actor building a monologue 'only around the words'?

According to the text, how do good playwrights write monologues, knowing how people talk to themselves?

To cope with being rattled by time or other pressures is given as a reason for what behavior?

The text states that your activities may be temporarily arrested or you may be diverted from one activity to another by what?

What is the author's primary piece of advice for an actor who is assigned a monologue?

What is the difference between a monologue and a dialogue, according to the text's examples?

When an actor has a verbal fantasy of telling off their agent, what does the text say about their physical actions?

What is the potential trap an actor can fall into if they discover that people sometimes exaggerate when talking to themselves?

The text states that in a monologue, 'words representing the character’s thoughts' are sometimes performed in a way that seems inaudible. What must the actor do in this situation?

What must be true for the verbal exaggeration in self-talk to be considered truthful acting?

Which phrase best describes the relationship between the physical task and the verbal fantasy in a monologue?

The author strongly recommends that the physical scene be found before what?

In what context is it possible for an actor to be unaware that they talk to themselves?

What is the consequence of an actor trying to perform a general state like 'waiting for so and so' without making it specific?