Why does the author advise against using the word 'attitude' in acting?
Explanation
This question highlights the author's strong stance against focusing on 'attitude', which is seen as an unplayable abstraction that hinders genuine action.
Other questions
What does the author state is the result of the sum total of the actions (what you do from moment to moment)?
What did Clifford Odets explain was the reason for the highly descriptive stage directions in the printed version of 'The Country Girl'?
How does the author redefine the word 'how' in the context of discovering real action?
What is the key difference between 'really doing something' and 'mechanically doing it'?
Which of the following is NOT one of the three categories for objectives and obstacles discussed in the chapter?
In the breakdown of Lyubov Andreyevna from 'The Cherry Orchard', what is the stated obstacle to her objective of wanting to keep her home and the cherry orchard?
What action does the author say Lyubov Andreyevna will take to achieve her objective of keeping her home?
According to the author, what is the 'first beat' for Lyubov Andreyevna in Scene One of 'The Cherry Orchard'?
What is the author's advice regarding an actor's approach to their work?
What analogy does the author use to describe the relationship between actions, beats, phrases, and movements in a play?
What does the author remember most about John Barrymore's performance in the recording of 'Hamlet'?
The author states that real action is NOT which of the following?
What practical step does the author recommend to avoid the trap of playing adjectives from stage directions?
In the author's anecdote about the play 'The Country Girl', what accidental stage event helped the action of a fight scene?
What does the author compare an actor watching their own performance to?
In the example from 'The Cherry Orchard', which of these is one of the obstacles Lyubov Andreyevna faces in Scene One during her homecoming?
What is the author's guiding principle when testing a potential action for a character?
What was 'overpoweringly selective' and memorable about the actions of great actors like Duse, according to the author?
What is the author's view on an actor playing a character's need to 'get someone's attention'?
What does the author suggest will happen if an actor selects adjectives like 'passionately' or 'shyly' as part of their acting score?
The chapter lists six overall character objectives and their corresponding actions for Lyubov Andreyevna in 'The Cherry Orchard'. Which of these is NOT among them?
What is the author's primary criticism of the word 'reacting' in the context of acting?
What happens to the nature of an action when an actor finds particular adjustments to elements like the person, object, or circumstance?
According to the chapter, what should an actor do when threatening to walk out on another character in a scene?
What is the consequence of all the preparatory homework and rehearsal work if it does not lead to action?
What active verb does the author suggest as a possible action for a character experiencing 'old age'?
In the author's example, what action might a character take to win someone over?
What does the author state is the 'fulfillment of our character’s wishes juxtaposed against the circumstances and the other characters’ wishes'?
In the provided list of overall actions for Lyubov Andreyevna, what will she do in response to her need for her lover, who is in Paris and using her?
What is the author's main point about the action of 'Duse's film, Ashes,' where she confronts her grown son?
According to the author, what is the 'main objective' for Lyubov Andreyevna in Scene One?
The author suggests that your selection and execution of actions will be the determining factor of what?
What is the danger of a misguided actor who finds an objective and then 'rides or floats toward it with his attitude'?
What kind of verb should an actor look for when discovering real action?
What is defined in the chapter as 'what you do from moment to moment'?
In the analogy of the symphony, what do the individual actions represent?
An actor's homework and rehearsal must have their consequence in actions, or what?
How many overall character objectives are listed as examples for Lyubov Andreyevna in 'The Cherry Orchard'?
Which of these is presented as an action Lyubov Andreyevna will take to deal with 'unpleasant reality'?
The author criticizes playing the 'mood' of a scene by stating that, spelled backwards, 'mood' is what?
What is the author's response to actors and teachers who reject the word 'how' because they believe it leads to adjectives?
What action does the text suggest a mouse might cause a character to do?
What does the author state is what acting is all about?
In the 'Cherry Orchard' example, what is the action Lyubov Andreyevna will take in the first beat to achieve her objective of getting into the nursery?
What playwright is noted for giving the actor 'no adjectives' in their scripts?
What should an actor leave 'wide open' in the execution of an action?
How many categories for objectives and obstacles does the author divide the character's hunt into?
What is the author's final advice in the section on working positively?
In the author's hierarchy of actions, what do the beats make up?