What physical actions are listed as part of the 'beats' in the second scene of 'Saint Joan'?
Explanation
This question tests for detailed comprehension of the author's 'Saint Joan' example, focusing on the specific beats of the second scene.
Other questions
According to the chapter, what governs the actions of human beings more than anything else?
Into which three categories does the author divide a character's objectives?
What does the author suggest an actor do if a character's larger objectives seem alien to them, such as Medea's need for revenge?
What is the function of a scene's main objective?
The smaller, moment-to-moment objectives within a scene constitute what the author refers to as:
According to the unverified story mentioned in the chapter, how did the acting term 'beats' originate?
In the example of Natalia Petrovna from Turgenev's 'A Month in the Country', what is her conscious objective regarding her ward, Vera?
What is the author's personal preference for the process of working on conscious and subconscious objectives?
How does the author suggest an actor can find the correct stimulus if an objective remains too factual and doesn't inspire action?
What crucial distinction does the author make between an obligation and a desire?
What is the primary objective of Shaw's play 'Saint Joan', as stated in its preface and cited by the author?
When using 'Saint Joan' as an example, what personal substitution does the author suggest for Joan's objective to 'save the theater'?
In the author's example for 'Saint Joan', who is suggested as a substitution for the character of the Dauphin?
In scene 1 of 'Saint Joan', what are the individual 'beats' or immediate objectives listed by the author?
What is the final 'big job' the author says must be addressed after determining a character's objective?
How does the author characterize a woman who consciously connives to ruin a young girl's life versus one who does it subconsciously, based on the 'A Month in the Country' example?
What does the author state about the insight an actor needs into human needs compared to the character they are playing?
What must the larger character objectives align with to serve the play effectively?
A 'beat' in a scene begins when an immediate objective sets in and ends when what happens?
According to the author, what is the usual alignment of a conscious objective?
What does the author describe as a potential subconscious objective for Saint Joan?
In the author's personal technique, what is the benefit of working on subconscious needs first?
What does the author state is the consequence of confusing an obligation with a desire?
The exploration of a character's overall objectives is described as a part of the work on which fundamental question?
In the example of getting across a river, which of the following would be considered a 'beat' or moment-to-moment objective?
When does Natalia Petrovna's subconscious objective become a conscious one in 'A Month in the Country'?
What is the author's preferred definition of the term 'objective' from the two provided at the start of the chapter?
In the 'Saint Joan' example, what is the objective for the second scene, upon arriving at the Dauphin's court?
What does the author state about the role of objectives in the architecture of constructing a character?
Why does the author prefer the term 'beats' over 'bits'?
What is the author's example of rephrasing an objective to make it more 'suggestible'?
What happens at the point where Natalia Petrovna's subconscious objective breaks through into her conscious awareness?
For the character of Saint Joan, what is the actor's substitution for the English army that must be battled across the river?
The author states that what you 'have to do' may be what in relation to what you 'want'?
What is the very first question an actor should ask when beginning to analyze character objectives in broad terms?
According to the author, a conscious objective is usually aligned with behaving well. When do we consciously look for justification for ignoble acts?
What is the author's substitution for Medea's need for revenge?
What does the author state must happen for objectives in all three categories to be effective, rather than remaining factual?
In the author's summation using 'Saint Joan', what are presented as her endless variety of broad character objectives?
What must the actor provide for the objectives if they are to form a solid foundation for the work on the action?
In the example of Natalia Petrovna, what is her subconscious objective?
What does the author say is the greater insight an actor will gain as they become a better actor?
In the river-crossing analogy, what is the main objective for the scene?
Which of the following is NOT listed as one of the three categories of objectives?
What example is given of an action that results from an obligation ('have to do') versus a desire ('want to do')?
The author notes that her personal method of working on the subconscious objective first ensures that the conscious objective is always what?
What does the author suggest might be a subconscious fulfillment of sensual needs for the character of Saint Joan?
How does the author characterize the difference between what a monstrous woman does versus a humanly fallible one in the Turgenev example?
Ultimately, after all objectives have been explored and defined, what is the next question the actor must ask to find the drama?