What comparison is made to illustrate the concept of using a 'mask' or 'cover' when our heart melts from a public expression of tenderness?
Explanation
This question tests the understanding of the 'mask' concept by asking for a specific example from the text. The reaction to tenderness—covering it with a joke or nonchalance—is a prime illustration of hiding vulnerability in daily life.
Other questions
According to the author, what does every artist, including painters, writers, and musicians, ultimately want to do with their work?
What does the author warn would be the state of an actor who ever actually forgot they were on a stage to the point of being totally unaware of being watched?
The author describes a 'sixth sense' or 'extrasensory perception' that most actors possess. What does this sense allow an actor to do?
How does the author believe the 'true realm of the actor' is achieved in terms of audience connection?
What must an actor do with the 'mask' that people normally use in daily life to protect themselves from emotional exposure?
What is the author's view on the old-fashioned concept of 'projection of voice and body'?
According to the chapter, what is the true source of an actor's 'high visibility' on stage?
What does the author state is the 'perfect high C of communication'?
What is the author's warning about the prayer that an artist's work will communicate?
The author draws a 'fine line' that actors must navigate. This line is between immersing in the work and what other consideration?
How does the author characterize the experience of being in an audience and having an actor try to hit you over the head with their 'interpretation'?
What does the author state is the difference between what is revealed when one is 'truly vulnerable and wounded' versus trying to prove one is 'invulnerable'?
According to the chapter, why will an actor not be heard by the audience?
What does the author say is necessary for 'true communication' from the actor's entrance to their exit?
What term does the author use for what might happen if an actor becomes so involved they are no longer in the play, a term sometimes used for the mentally disturbed?
The author mentions that in daily life, if someone insults us, we find an 'almost instantaneous cover to adjust to it.' What is NOT an example of this cover given in the text?
What does the author suggest is the reason we went into the theater in the first place?
What is the author's stance on correcting a poorly produced, breathy, or squeaky voice?
The author states that 'clear, revealing actions are always seen and heard.' What does this imply about communication?
The chapter contrasts the artist's creative process with the work of a 'commercial tradesman.' What is the primary purpose of the tradesman's use of skill?
When does the author suggest the 'inner urge that it will reach and convince many people' should be considered by the artist?
What does the author insist is possible for an actor regarding involvement and awareness?
The author refers to a technical aspect involved in communication by mentioning the concept of 'revealing the character.' What is the first step in this process?
How does the author describe the purpose of social customs or family rules in our daily lives?
What is the author's stated reason for not teaching 'playing to the audience'?
The author states that you will not be heard if your verbal actions are general and do not reach their mark. Where is this 'mark' located?
What visual metaphor does the author use to complete the description of the 'perfect high C of communication'?
What is the implied relationship between an artist's integrity and their concern for popular reception during the creative process?
The author claims that an actor will be aware if an audience 'gets restless or is spellbound.' This awareness is part of what concept?
In the author's view, what is the key difference in purpose between an actor on stage and a person in daily life regarding vulnerability?
The text distinguishes between old-fashioned projection and correcting 'blurred, messy articulation of sounds.' In which 'department' does the latter issue lie?
Which of the following is NOT given as a method for achieving high visibility on stage, according to the chapter?
At what point in the creative process does the author say confusion often sets in for the artist who wants to keep his integrity?
If an actor is 'hitting them over the head' with their 'ideas' and 'intellectual choices', what does the author believe is happening to the audience?
What must be true of an actor's verbal actions for them to be heard, apart from having a clear mark?
How does the author characterize the Englishman's 'stiff upper lip'?
The author states that clear, revealing actions are always seen and heard. This statement is immediately preceded by a rejection of what?
What must be sustained from an actor's entrance to their exit for true communication to occur, even on an 'average level'?
If an actor is only concerned with having a private experience, what key aspect of theater are they forgetting, according to the text?
The author says the desire for the work to 'reach and convince many people' should be treated in what way during the creative process?
What would an actor who has become 'too involved' and is no longer in the play be doing?
The author contrasts the 'true realm of the actor' with the actor who does what?
What does the author state is totally different when you are truly vulnerable and wounded?
The author argues that high visibility is achieved by the strength and clarity of character actions. From where are these actions sent?
What does the author identify as the 'fine line' an actor must walk?
The author insists an actor can work for maximum involvement and still be aware of what?
What is the consequence of verbal actions being 'general'?
What does the author state is the difference between revealing a wounded self on stage versus in life?
The chapter ends by stating that for true communication, something 'must be sustained from your entrance to your exit.' What is that something?