What is the recommended method for creating a believable yawn on stage?
Explanation
The chapter explains that a yawn can be created mechanically by understanding its physiological purpose (a need for oxygen) and replicating the specific muscle actions of a deep inhalation that forces the mouth open.
Other questions
According to the chapter on Sense Memory, what is the common but incorrect tendency of an actor trying to reproduce a physical sensation like being hot or sick?
What is the recommended first step when using sense memory to portray being cold?
What does the chapter suggest is the moment when a recalled sensation occurs most fully?
How should an actor create the belief that it is very dark on a well-lit stage?
What is the primary role of sensations like heat or a headache within a scene?
What warning does the chapter give about playing a character who has a headache when the actor has a real headache in the same spot?
How should an actor approach portraying fatigue from typing for hours?
What is the recommended technique for creating the sensation of a stuffy nose from a head cold?
According to the chapter, what is the key to portraying drunkenness specifically, rather than resorting to clichés?
Why does the author state that a correctly functioning actor should ideally be the 'healthiest, least neurotic creature on earth'?
What tool does the chapter suggest an actor can use to portray a sensation they have never personally experienced, such as being in labor?
In the technique for waking up on stage, what is the true sleep position for the eyes?
What is the primary risk of an actor simply trying to 'show' a condition like a headache to the audience?
To create the sensation of a burn on a fingertip, what is the recommended 'adjustment' after recalling the thin, tight feeling of the skin?
What does the author suggest can make an old cliché like 'wiping the sweat off the forehead' new and valid?
The chapter states that the actor is 'dictating the sensations—they are not dictating you'. What does this mean?
How is 'sense memory' defined in contrast to 'emotions' in the chapter?
To create the physical sensation of fatigue from walking for hours in thin-soled shoes, where should the actor localize the feeling?
What is the physiological reason for yawning that an actor must understand to create one believably?
In the technique for sleeping and waking, what is the purpose of first directing inner attention to an abstract object like a leaf or a wave?
Why might some highly sensitized actors be considered to have 'hypochondria' as an occupational hazard?
When portraying drunkenness, the author mentions her personal psychological manifestation is a need to 'talk too much'. What does this illustrate?
What is the actor's experience of being in the dark, which allows them to recreate it on stage?
If an actor needs to cough on stage, what should they do to make it genuine?
What problem arises when a director or teacher commands an actor to 'relax, or concentrate, or use my imagination' without specific guidance?
For creating the sensation of nausea, what are the specific physical steps recommended in the chapter?
What is the consequence of an actor successfully applying the sense memory technique for being in the dark?
Why is it important to localize a headache in a specific spot, like 'directly over the right eye'?
What does the author suggest might be the reason that many talented actors exhibit unreasonable or neurotic behavior in their personal lives?
When trying to create the sensation of cold, what is the 'adjustment' an actor can make after recalling a draft on the neck?
What is the danger of an actor succeeding in falling asleep on stage when the character is meant to be asleep?
The chapter emphasizes that shivering can be done 'on purpose, not only involuntarily'. What is the physiological reason given for this?
What physical sensation does the author describe as 'one of the most difficult to make specific' and one that 'traps even fine actors into a series of clichés'?
What is the relationship between the 'body's innate sense of truth' and the sense memory technique?
If an actor is portraying a character with a headache, and asks 'What if I work for a headache and it stays with me?', what is the author's suggested response?
How does the technique for recalling a sensation of heat differ from portraying the fatigue of being hot?
According to the chapter, why is it difficult to remember the specifics of being drunk?
What does the author suggest to make the sensation of cutting yourself specific?
What is the final aim of using sense memory on stage?
What physical adjustment does the author suggest for fatigue after walking in thin-soled shoes?
The chapter states that to portray pregnancy or labor without having had a baby, an actor can still find the sensations 'within our command'. How?
What is the author's feeling about a director commanding an actor to 'use my imagination' during a scene?
What kind of fatigue and tension is associated with having been typing for hours?
After creating the sensation of cold, what might an actor end up doing as a result of the body's response?
What is the author's view on an actor feeling 'anxious for sensations while nothing happens'?
What substitution could be used to create the sensation of strangulation?
What is the key to creating the feeling of 'heavy' eyes after waking up on stage?
What does the author suggest happens to the senses of touch and sound when one's eyes adjust to being in the dark?
When trying to portray being drunk, the author describes her tongue feeling 'fat and swollen'. What psychological need does this physical sensation lead to?