What does the author believe is the main cause of 'something being rotten in the state of the theater'?
Explanation
This question identifies a core ethical problem that the author believes undermines the art form: self-centeredness. Her rehearsal principles are designed to combat this by fostering a focus on service to the play and colleagues.
Other questions
What is the author's preferred meaning for the word 'rehearsal', which she feels captures the essence of the process as a probe, test, and adventure?
What does the author identify as the first fundamental principle of rehearsing that bears examination?
When rehearsing a scene for a studio presentation, what does the author say should be the purpose of the work?
What does the author recommend actors do immediately after the first or second reading of a scene, instead of engaging in a long discussion?
How does the author suggest actors should establish the 'place' or setting for their scene?
What is the author's direct advice for an actor whose partner is supposed to stop them from leaving the room but fails to do so in time?
According to the author, why is 'not one piece of blocking' necessary in the early stages of rehearsal?
What is the author's opinion on finishing a rehearsal just because it 'felt good' or was 'comfortable'?
When observing other colleagues' scene work in a studio setting, what does the author advise against?
In a professional production, the author states that all ethical principles are valid with one 'major addition'. What is that addition?
What does the author reveal about Stanislavsky's directing methods that might surprise 'modern' actors?
In the author's anecdote about working with director George Abbott, what did she eventually understand he was giving her with his line readings and gestures?
What did the director Max Reinhardt tell an actor who was talking at length about what he would rather do in a scene?
What is the author's advice regarding run-throughs during the rehearsal process?
What is the core reason the author gives for avoiding telling a partner what to do in a rehearsal?
During the first reading of a scene, what does the author say can cause 'great damage'?
What is the author's advice on how to handle the circumstances of time, weather, or state of health in a scene?
When is it acceptable for actors to verbalize information about the scene, according to the author?
What does the author suggest is the most valuable criticism an actor can get in scene study?
What is the author's analogy for the actor's relationship with a director in a professional production?
What does the author suggest happens if an actor spends their rehearsal time socializing and 'getting to know each other'?
In the author's view, why might an actor feel a 'different kind of pressure' in a studio setting compared to a public performance?
What is the author's advice about the very first 'probe' or reading of a scene?
If a scene depicts a crisis between a husband and wife, what improvisation does the author suggest doing first?
What does the author suggest an actor should do if their scene partner is 'off circumstances'?
What example does the author use to illustrate the immense amount of preparatory work possible for even the first thirty seconds of a scene?
What is the result of working with vague inner and outer sources, according to the author?
When listening to criticism of other actors' work, the author says we are always most open-minded and understanding under what condition?
What does the author believe is the actor's job in relation to the director's concept?
The story about stage designer Boris Aronson ends with a pertinent question he asks about Broadway. What is that question?
What is the author's advice regarding helping a scene partner with their role?
Why does the author believe a 'gently mumbling actor' can be just as damaging as one who is 'loudly emoting'?
What is the consequence of verbalizing your wishes, actions, or obstacles to your scene partner?
What must an actor be flexible enough to do in a professional production, according to the author?
What does the author suggest will happen to line memorization if the actor's work is solid?
At what point in the rehearsal process does the author recommend putting the first beat of a scene 'on its feet'?
What is the author's general advice about discussions during rehearsal?
What does the author suggest to avoid making 'stage' decisions about objects in the scene too early?
Why does the author state that being punctual or early to every rehearsal is important?
What is the actor's primary responsibility in the rehearsal room, as described by the author?
When an actor presents a scene in a studio class, the author says it is a test for the teacher and colleagues. What is being tested?
In a professional production, what does the author say is the disastrous result if musicians in an orchestra take off with their own interpretation?
When a director talks at length about the play and characters, what danger does the author warn the actor to avoid?
What is the key difference the author identifies between her work with George Abbott and what he actually wanted from her?
If actors have done considerable homework on their character's past life before the first rehearsal, what does the author say they have done?
According to the author, when actors argue with a director but have no alternative suggestion when asked, what should they do instead?
What does the author recommend for making the tangible things in the scene's 'place' useful?
What happens if an actor works for several hours on the place and several more hours on the first beat of a five-minute scene?
Ultimately, when a scene is ready for presentation after all elements are incorporated, what does the author say may still happen?