The Objective

According to the chapter on Communication, what does every artist ultimately want to do once their work is complete?

The text describes a state where an actor might become so involved in a role that they forget they are on stage. What term is used for this phenomenon?

What does the author identify as the 'sixth sense' or 'extrasensory perception' of most actors?

According to the author, how is 'high visibility' on stage achieved?

To allow for pertinent communication with the audience, what must an actor do regarding the 'masks' people wear in daily life?

What is the author's opinion on the 'old-fashioned sense' of projecting one's voice and body?

The author believes the true realm of the actor is achieved when the audience connects through empathy and identification. What approach does the author warn against?

What does the author state will happen if an actor's verbal actions are 'general' and don't reach their mark on the actor's side of the footlights?

To achieve 'ultimate expression' and communicate on the deepest level, the author argues an actor must be what?

The author draws a distinction between an artist and a 'commercial tradesman'. What is the primary focus of the tradesman?

When does the author suggest that the 'prayer that it will communicate' should enter the artist's process?

What does the author warn will happen to an actor who hits the audience 'over the head' with their 'intellectual choices'?

The author states that in daily life, if someone publicly expresses tenderness, we often react by putting up a mask. What is the purpose of this mask?

What is the consequence of an artist allowing the desire for popular reception to influence the creative stages of their work?

The chapter describes the 'perfect high C of communication' as a state where the actor is seen in a particular way. How is this described?

What does the author insist is possible for an actor regarding involvement and awareness?

The author states that 'clear, revealing actions are always seen and heard.' What is the source of these actions?

Why does the author state that she never teaches 'playing to the audience'?

What is the key difference between what is revealed when an actor is 'truly vulnerable and wounded' on stage versus how one might react in life?

What does the author suggest is the relationship between 'confusio'n for the artist and the desire for their work to be effective or popular?

The chapter discusses a 'fine line' an actor must walk. This line is between which two things?

What example of a 'mask' does the author give for how 'The Englishman' covers his emotions?

The author separates the problem of a 'poorly produced, breathy or squeaky voice' from her main argument. How does she categorize this issue?

What is the author's stated reason for emphasizing her particular view on communication again in this chapter?

What is the implied risk for an actor who successfully works for 'maximum involvement' in a play?

What is NOT mentioned as a way to achieve 'high visibility'?

What does the author suggest is the relationship between being heard and radiating light in the context of the 'perfect high C of communication'?

In the author's view, what is the connection between revealing a character and stripping away masks?

What is the author's position on an actor experiencing a feeling of being 'too involved'?

Which of the following is NOT described as a 'mask' or 'cover' people use in daily life?

What determines whether a verbal action will be heard by the audience, according to the chapter?

The author contrasts her preferred way of an audience connecting with an actor against another, less desirable way. What is this less desirable way?

According to the author, what is the fine line between in an actor's work?

If an actor is seen upstaging another or constantly looking for the brightest light, what is this actor failing to understand about 'high visibility'?

What is the author's final description of true communication in the last sentence of the chapter?

What does the author suggest would happen if you truly forgot you were on stage?

What is the author's view on the audience's role in the communicative process?

The text states that in daily life we protect our souls with a mask. In the context of acting, what is the 'soul' of the character?

If an actor is not being heard, what does the author suggest is the likely problem?

What is the author's fundamental belief about the nature of a theatrical performance?

What does the chapter imply about the relationship between 'high visibility' and 'old-fashioned projection'?

When the author says an artist must not consider 'the effectiveness of his work or its popular reception' during the creative stages, what is she advocating for?

Which of these is NOT a characteristic of the 'sixth sense' of an actor?

The author states 'clear, revealing actions are always seen and heard.' What does this imply about an actor's responsibility?

What is the author's stated attitude toward technical problems like a 'blurred, messy articulation of sounds'?

In the author's analogy, what is the role of a painter or writer equivalent to for an actor?

What is the primary danger the author associates with an actor focusing on their 'interpretation'?

The chapter suggests that if an audience is spellbound, it is likely because...

What is the relationship between an actor's vulnerability and their use of masks on stage?

What does the author imply is the difference between how an insult is processed in life versus how it should be approached on stage?