Sense Memory

What is identified as the most probable reason for an actor's physical discomfort and inaccurate adjustment when rising from a seated position on stage?

According to the producer and director Arthur Hopkins, what is the essential reason for walking?

In the example of an actor 'wandering restlessly', what is the proposed method to avoid the cliché of mechanical stage wandering?

In the 'wandering restlessly' example, what is the first action the actor is impelled to do while waiting for a friend?

What does the chapter suggest is strongly influenced by the clothes an actor chooses to wear?

In the example comparing two outfits for a walk to the drugstore, what single element is changed in the second scenario to alter the character's entire psychological state?

For which character would the author find it impossible to rehearse while dressed in slacks and sneakers?

What does the chapter identify as a fatal error an actor can make even before rehearsals have begun?

What is described as the necessary balance for verbal actions on stage?

What is the ideal outcome for an actor who is truly alive on stage, regarding their physical and verbal behavior?

What is the consequence for an actor who executes a rise from a sofa without a relevant justification?

In the example of 'wandering restlessly,' why does the character cross to the armchair to rub a grease spot?

What must be substantiated by the logic of the play when an actor deals with seemingly illogical objects on stage?

According to the chapter, how does wearing a new, classic suit versus tight blue jeans affect a person's walk to the drugstore?

What is the consequence if an actor falls back into the mechanical 'line readings' they memorized before rehearsals?

What hinges solely on what a character wants or needs at the moment?

The chapter describes an actor becoming aware of their hands as 'unnecessary appendages' as a symptom of what underlying issue?

What is described as the 'messenger' of an actor's wishes on stage?

What must an actor learn if they are to be propelled into genuine verbal action?

What kind of stage wandering does the chapter describe as a 'cliché' to be avoided?

In the example of 'wandering restlessly', the actor's mind is described as racing from one inner object to another. What are these inner objects directly connected with?

Why does the author state that she could barely get the words out of her mouth if she were to work on Saint Joan in a frilly chiffon dress?

What brings about the total animation of the actor's body on stage?

Which of the following is NOT listed as a potential justification for an actor rising from a sofa in the given example?

What is the actor's protective pose, borrowed from inept stage experience, an attempt to do?

What must happen for a standing position on stage to be an 'involving and simple task' rather than a source of awkwardness?

In the 'wandering restlessly' example, what does the actor do immediately after pushing the phone?

What is the stated purpose of the selected objects an actor deals with on stage when wandering?

What is described as coming from a 'misunderstanding of true verbal action'?

What allows for the 'organic development of the character and the primary action of the scene'?

What is the initial state of an actor described in the chapter's opening paragraph, before they rise and become awkward?

In the example of an unjustified rise from the sofa, the text states the actor becomes an 'exposed actor on stage, not a...'

The chapter argues that even a direction like 'He wanders restlessly' does not have to lead to what?

On stage, where every second counts, what should be done with objects to make wandering meaningful?

What does the author suggest you must make particular about your clothing for a performance?

The chapter warns that an actor who memorizes inflections before the first reading will fall back into an identical pattern of what?

What does the chapter claim is the cause of an actor delivering words with set, intellectualized intonations?

What happens to the standing task when an actor's attention wanes from the 'astounding news' in the example of a justified rise?

The physical manifestations of a simple walk down the street are a consequence of what, according to the chapter?

Ideally, the endless variety of interaction between verbal and physical behavior should result in what perception by the audience?

What physical state is described as happening to an actor's legs and feet when they lose their sense of character?

In the chapter's opening paragraph, what is the actor doing just before the act of standing becomes awkward?

What is the actor's motivation for picking up a glass from the liquor cabinet in the 'wandering restlessly' example?

In the author's personal example, working on which character would be difficult while wearing a frilly chiffon dress and high-heeled shoes?

What does the author suggest can be fatal to an actor's final performance?

According to the chapter, when an actor is truly alive on stage, there is an endless variety of interaction between what two elements?

Why must the movement an actor creates come from carefully selected action?

What makes the words 'inevitable' for a character?

Which error in verbal action involves projecting words beyond the object they are trying to reach and into the audience?

What does the chapter say an actor had if they were following the command 'He rises'?