What does the author identify as the key reason the unrehearsed performance with Marlon Brando was successful?
Explanation
The success of the unrehearsed performance illustrates a core principle of the book: deep, individual homework on the play's given circumstances allows for spontaneous, truthful interaction, even under extreme pressure.
Other questions
What is the author's perspective on an actor using their real-life nerves for their character's circumstances?
What was the outcome when the author attempted to manage nerves for a Broadway opening by convincing herself the event was ridiculous and unimportant?
How does the author advise actors to control their performance nerves?
The author states that an actor's nerves can put them 'out of commission' in a way that is similar to what specific consequence for an acrobat?
To be adequately prepared for any type of audition, what is the number of things the author suggests an actor should have ready to present?
According to the author, what is a common reason that actors lose work after an audition?
In the 'Auditions' section, the author compares an actor attempting to get an audition to what other profession?
What is the author's primary advice for an actor doing a cold reading for which they have had little or no time to prepare?
In the section on auditions, what does the author claim a director wants, similar to what 'any primitive audience wants'?
When addressing the question of talent, the author quotes Max Reinhardt as prioritizing what quality over talent?
What distinction does the author's mother make between possessing talent and becoming an artist?
According to the author, what is the primary benefit of working in summer stock, despite the fast pace?
What is the author's view on the potential for developing 'bad habits' while working in the fast-paced environment of summer stock?
What is the author's direct and succinct response to the question, 'Should I Stick It Out in the Theater?'
To which category of concepts does the author assign questions about 'Pacing,' 'Rhythm,' and 'Tempo'?
How does the author primarily define 'overacting'?
What does the author describe as being 'almost more exciting than the idea of playing in repertory'?
According to the author, when does a performance tend to get 'stale or dries up' during a long run?
How does the author believe an actor should approach working with a replacement in the cast?
In the anecdote about performing in 'A Streetcar Named Desire' with Marlon Brando, how much time did they have together backstage before going on for an SRO performance without a rehearsal?
When an actor's role requires them to speak directly to the audience, what specific principle does the author assert always applies?
When treating the audience as a partner in direct address, what is one of the key questions the author suggests an actor must answer?
What does the author identify as 'the hardest part' of talking to the audience?
What is the primary reason the author advises against an actor making direct eye contact with an actual member of the audience during a play?
When tasked with playing a character with a foreign accent or regional dialect, what is the first step the author takes?
Why does the author recommend practicing a new speech pattern long before applying it to the words of the play?
What psychological difference does the author highlight between a character speaking with a foreign accent versus one with a regional dialect?
What does the author claim about the required authenticity of an accent if an actor doesn't have a perfect ear?
According to the author, how must costume pieces like an eyelash, a mustache, or padding be treated by the actor?
In the anecdote about Alfred Lunt in 'The Guardsman', what was the purpose of his character pretending to be a Russian officer?
How did actor Alfred Lunt test the believability of his character's disguise for the play 'The Guardsman'?
In the section on 'Moral Standards', what does the author state is an artist's 'private domain'?
According to the 'Moral Standards' section, what is the actor's duty in relation to the theater?
What does the author suggest is the relationship between the joy of playing and the nerves from personal ambition?
In the 'How Do I Get a Job?' section, what does the author recommend an actor develop in order to 'do the rounds' and face everyone?
What kind of audition does the author refer to as her 'favorite kind'?
What is the author's opinion about questions regarding 'Pacing', 'Rhythm', and 'Tempo'?
In addition to playing to the gallery, what is the other definition the author provides for 'overacting'?
What does the author identify as the definition of 'underacting'?
What is the author's feeling about working on a play with a replacement actor?
During the summer when the author was playing Blanche, what was the difference in vacation time taken by Jessica Tandy versus the other three principals?
When addressing the audience as Mrs. Levi in 'The Matchmaker', what is one example the author gives for who her imaginary audience might be?
How does the author recommend placing an imaginary audience to avoid making direct, uncomfortable eye contact with actual audience members?
What anecdote does the author use to illustrate the psychological difference of having a foreign accent?
When should an actor begin their homework for a summer stock role, according to the author?
What is the author's advice on the actor's relationship to their trade union, Actors Equity Association?
The author feels that working with a replacement actor in a long run should be a test of what?
What does the author remember about Laurette Taylor's performance in 'The Glass Menagerie' regarding her accent?
Why does the author feel it is an actor's duty to 'claim your place' in the theater?