If you are playing a character who is talking to themselves, what is the first step the author strongly recommends?
Explanation
This question reinforces the procedural order of operations for an actor tackling a monologue, as prescribed by the chapter.
Other questions
According to the text, what is the fundamental definition of a monologue?
What does the author state is the primary reason people talk to themselves?
When a character speaks directly to the audience, how does the author categorize this action?
What is the author's advice regarding the physical life of an actor during a monologue?
Using the example of Juliet on her balcony, where does the author state Romeo exists for her during the monologue?
What does the author identify as a common mistake actors make when building a monologue?
What is the author's strong recommendation regarding the relationship between verbal action and physical occupation in a scene?
How does the text describe the nature of verbalizing when talking to oneself in a real-life crisis?
What dilemma does an actor face when discovering that talking alone often involves a strange verbal exaggeration?
How can an actor ensure their performance of an exaggerated monologue remains truthful?
What is one of the functions of verbalizing while performing a tedious or routine task?
According to the author, when you are verbally fantasizing a battle with a friend in a restaurant while tidying your desk, where is your friend located?
The text mentions that verbalizing 'Where’s my key? I’ve got my gloves' while rushing out the door is an example of what?
What does the author suggest is a key difference between a real-life monologue and how an actor might mistakenly portray it?
Why does the author advise against using books of 'inaccurately titled “monologues”'?
What must an actor determine to give a monologue's verbal life freedom and precision?
The author states that you do not come into a room or sit down in order to talk to yourself. What propels you into verbalization instead?
What type of play is the monologue exercise, as presented in this chapter, intended to be a starting point for?
Why does the author suggest that an actor exploring basic self-talk might not be aware they do it?
What is the author's view on the structure of fantasized conversations during a monologue?
The chapter suggests that even a long speech from one character to a silent other is not a monologue. Why?
In the example of fantasizing a fight with an agent, what does the author say we do with our fury?
What is the key problem with an actor's answer like 'I’m in the room waiting for so and so' when asked 'What were you doing?'
The author states that in a monologue, 'a verbal life can never have freedom or precision' if what is true?
What example does the chapter use from a play to illustrate a character getting ready for work and engaging in fantasy self-talk?
The text states that a monologue can be a character talking to himself, to absent characters, or to what else?
If a character is late and trying to get organized, the author says their verbalization is an attempt at what?
When an actor presents an exaggerated monologue, what makes it bad acting according to the text?
The chapter states that the content of a monologue is always dependent on several factors. Which of the following is NOT listed?
What is the author's primary critique of the way actors often approach monologues from plays?
What is the relationship between a character's physical activity and their verbal fantasy during a monologue?
When talking to ourselves, why do we not 'tell the whole story'?
The text describes a situation where an actor flails papers in the air while having a verbal battle with an absent friend. What does this action illustrate?
What is the ultimate purpose of the monologue exercise as described in the chapter?
According to the text, a monologue is always performed for a specific reason at what particular time?
The author suggests that when making up a grocery list, you might verbalize, 'Gotta remember the milk.' What function does this serve?
When an actor has successfully performed an exaggerated monologue truthfully, what has prevented it from being bad acting?
What type of basic self-talk does the author suggest an actor should NOT concern themselves with for the exercise, unless they think they never talk to themselves?
The author argues that a character's activities during a monologue 'may be temporarily arrested by the verbal life.' What does this imply?
What is the consequence of an actor building a monologue only around the words?
The author describes standing at a bathroom mirror and chatting with oneself, switching from Cary Grant to Bette Davis. This is an example of what?
According to the chapter, which of these is NOT a defining characteristic of a monologue?
The author states that 'All good playwrights know this' when they write a monologue. What is 'this' that they know?
If a scene is found physically before the verbal action, what does this foundation allow for?
When we re-examine what we DID say to an agent versus fantasizing what we SHOULD have said, what are we doing?
Which of the following would the author categorize as a duologue rather than a monologue?
The chapter implies that for an actor, the physical life during a monologue should be what?
What is the common element in the examples of coping with boredom, being rattled by time pressure, or dealing with frustration?
If an actor is speaking a monologue and their activities are 'diverted from one activity and begin another one,' what has likely happened?