In the author's example, what happened when she burst into the imagined office of Ada Bloom and was greeted by a motherly lady instead of the hostile one she expected?
Explanation
This question assesses comprehension of the Ada Bloom example, which illustrates how relationships and actions are fluid and must be constantly readjusted based on new information.
Other questions
After establishing a character's relationship to the play's theme and other characters, what is the next necessary step for an actor?
What is the primary aim an actor must have when working on relationships to avoid dry, mechanical actions?
According to the text, in what specific areas should an actor ask if their character is leading or following in a relationship?
On what two foundational elements are the broad labels of basic relationships, such as love or rivalry, founded?
When playing an antagonist, what will happen if an actor judges the character?
In the example of the mother in 'Look Homeward, Angel,' what must the actress do to justify her actions of tying her son to her?
According to the example of delivering a script to the literary agent Ada Bloom, when does a relationship with a stranger begin to form?
What does the author suggest is the most likely way an actor will create a new character relationship in a play?
What is the consequence if an actor thoroughly constructs relationships and makes substitutions but keeps them in their head?
What are the common, clichéd ways of symbolizing old age that the text warns actors to avoid?
What is the primary factor that establishes a character's age, according to the author's perspective?
In the author's class demonstration, how many different handshakes with the same student are described to illustrate the concept of age relationship?
Dame Sybil Thorndike's response to the author's belief that she was too old to play St. Joan again was, 'You can only be too young for Joan!'. What problem in theater does this anecdote highlight?
If you are playing the mother in 'Butterflies Are Free', what must you NOT forget when finding a correct relationship to the son?
What does the text suggest is the result of a loved one showing off in public for most people?
What is the key difference between how the son and the mother in 'Butterflies Are Free' often particularize their relationship?
To create the love-hate relationship for Martha in 'Who's Afraid...', what did the author have to do?
What physical reaction does the text suggest might occur if you work correctly on your relationships and your lover touches your cheek?
The text states that in almost all human relationships, one person dominates and the other submits. What is the immediate first step an actor should take with this information?
When examining your character's relationship to others, which question should you always ask about the dynamic?
What is the source of the 'awkwardness' of youth, according to the text?
What was the author's reaction when she shook hands with a student, assuming he was the movie star Gérard Philipe?
The final paragraph of the chapter warns against a problem pointed out by the 'master-technician'. What is this problem?
What is the ultimate purpose of making an inanimate object on stage particular and personal, according to the chapter's introduction?
When an actor is playing an antagonist, what must they know more about to construct a balance with the protagonist?
What is the reason provided for why the problem of a character's age is reserved for the chapter on Relationship?
According to the text, a twenty-eight-year-old actress was convinced she was too young to play a forty-year-old character. What did she actually need to concentrate on to find belief in the required age?
What does the text claim will spring from an actor's adjustment to the fact that they feel other characters are older or younger than they are?
To find 'genuine, electrified action,' an actor must endow their relationships with all the necessary elements and then do what?
When beginning the detailed work of examining a relationship, what does the text suggest an actor should examine first?
What is the consequence if the actor playing the son in 'Butterflies Are Free' fails to include his love and dependence on his mother in his characterization?
Why does the author state it is a mistake for an actor to look for one person in their life to substitute for a character's total relationship?
What is the only way that constructed relationships and their substitutions will have value for the actor?
What is described as a 'general guidepost' for playing the extreme of old age, if an actor must do so while still young?
What does the text say can make an actor 'feel' younger or older, separate from their chronological age?
In the author's class demonstration about age, what was her emotional and physical state when assuming her partner was Alfred Lunt?
What must an actor's adjustments relating to their character's age also be aligned with?
What does the text suggest is complex to make actively real for an actor on stage?
What does the text mean when it advises an actor to 'pit yourself against the other characters'?
In the detailed work of examining 'your' likes and dislikes of others, which example is NOT mentioned in the text?
The actor playing the antagonist often falls into a trap of evaluating the 'villain' against the 'hero' instead of doing what?
What is the result of using a single infirmity, like an ache, to portray old age, as opposed to using general clichés?
In the author's demonstration, she feels 'tall, a little condescending and definitely my own age' when she assumes the student she is shaking hands with is whom?
Which of these is presented as a 'trap' an actor playing an antagonist might fall into?
After exploring broad relationship labels, what is the next level of exploration suggested, involving assumptions and feelings?
What is the author's view on the twenty-year-old actor portraying a teenager as a 'retarded five-year-old'?
Why did the twenty-eight-year-old actress playing a forty-year-old not feel or look much different than she did in her late teens?
What does the text claim is the primary thing at stake when an actor finds identification with the age of their character?
The text states that your related age differences with other characters should create what?