How is an 'Artist' defined at the conclusion of the chapter?
Explanation
This question tests the recall of the second formal definition provided at the chapter's end, which defines the practitioner of art.
Other questions
What does the author describe as 'the dirtiest word in the actor’s vocabulary'?
According to the text, to whom does the concept of 'style' properly belong?
The author states that one cannot predetermine style in the act of creation, comparing it to what other form of creation?
Which of the following is identified as a reason for actors' misunderstandings and inaccurate concern with style?
What type of childhood productions are mentioned as a deep-rooted reason for actors accepting a 'manner' of performing certain plays?
What does the author assert about labels such as 'realistic, surrealistic, romantic, satirical, farcical'?
The author warns that an actor's concern for 'style' during the creative process will immediately place them on which side of the footlights?
What is described as a 'trap every artist in every art form should guard against like the fatal plague'?
By citing Webster's definition of 'to create,' the author argues that a concept must arise from what?
Whose book, 'The Shape of Content,' is recommended as an 'eye-opener for the actor'?
To illustrate the need to internalize material before giving it form, the author cites Picasso, who claimed an artist must do what to an apple before painting it?
In a play, the net result of the 'style' is described as a product of the director's concept of the playwright's content, expressed by the inner and outer life of whom?
What does the author state an honest actor ignores when attempting to avoid signaling 'comedy'?
If a character shows the audience 'how' he wisecracks instead of proving his humor to the other character on stage, how is he described as acting?
According to the text, what primarily determines whether a fight between two people is tragic, ugly, or funny?
If comedic material is performed in a way that becomes heavy or unfunny, what does the author suggest has likely been left out?
In the example of Christopher Fry's play 'A Phoenix Too Frequent,' where is the lead female character discovered at the beginning of the story?
In 'A Phoenix Too Frequent,' what does the author say Christopher Fry proposes the symbolic phoenix, which arises from the ashes, all too frequently is?
When discussing 'A Phoenix Too Frequent,' the author describes the main character's 'notion' of dying as being in conflict with what?
How is the deceased husband in 'A Phoenix Too Frequent' described in the text?
The author argues that if an actress playing the lead in 'A Phoenix Too Frequent' focuses only on the character's death wish, she may be truthful on her own terms but not truthful to what?
The author states that if a director and actors fully experienced the content of 'Awake and Sing', 'Rocket to the Moon', and 'The Country Girl', they would arrive at how many different 'styles'?
According to the author, if a group of actors began by working for an 'Odetsian style,' what would be the result?
What is the primary piece of advice offered in the author's closing statements to avoid the pitfalls of misunderstanding style?
What is one of the specific things the author advises actors to avoid doing in both rehearsals and performance?
What does the author urge an actor to use while 'probing and grappling with the content and the roots of the material'?
What is the most accurate interpretation of the author's advice to 'Bring your universal understanding of the present to the present'?
How is 'Art' defined at the conclusion of the chapter?
The author claims that being 'specific and real' in your actions will communicate what?
According to the author, for what purpose is the word 'style' considered serviceable?
Which of the following is NOT listed in the text as a reason behind actors' misunderstandings of style?
The misuse of an academic education by an actor is cited as one reason for misunderstanding what concept?
What musical genre is used as an example to illustrate that creative works are named or categorized only after they come into existence?
The author compares acting to painting and recommends reading a book on modern art by which artist?
The author's initial comparison for painting an apple involves seeing and sensing it, which is contrasted with Picasso's more direct advice to 'eat the apple'. What does Picasso's approach suggest?
What simplistic question regarding an actor's life does the author pose to mirror the challenge of approaching the difference between comedy and tragedy?
The text suggests that if a fight occurred within a relationship characterized by 'real hatred,' the fight would likely be what?
In the play 'A Phoenix Too Frequent,' what is the initial wish of the mourning lady in her husband's tomb?
In Christopher Fry's 'A Phoenix Too Frequent,' who arrives at the tomb in the middle of the night and changes the course of the play?
The author argues that you cannot reshape a play to suit your most convenient needs or violate what?
If an actor or director violates a playwright's intentions, what does the author suggest they will be accused of having?
The author believes the principles of style emerging from content apply to many playwrights. Which of the following playwrights is NOT mentioned in the list provided in the text?
What does the author identify as the primary pitfall to avoid, as summarized in her closing statements?
What specific phrase, representing an external approach, does the author urge actors to avoid?
In the final definition of an 'Artist,' what two qualities are said to govern the conception and execution of the art?
In the author's final advice, actors are encouraged to be specific and real in their what?
What is the final piece of advice the author gives to the actor at the very end of the chapter?
According to the text, the act of categorizing works of art is performed by whom?
When an honest actor tries to play comedy, what does the author claim he has forgotten about his own life?