What fundamental principle does the author claim is true for tragedy, comedy, satire, and farce alike?
Explanation
This question reinforces the central thesis of Chapter 26, which is that the principle of conflict via obstacles is universal across different genres of drama.
Other questions
According to Chapter 26, 'The Obstacle', what is at the root of any dramatic form worthy of the stage, including tragedy, comedy, satire, and farce?
In Chapter 26, what is the primary effect of an obstacle on a character's desire for their objective?
Chapter 26 provides a list of sources from which obstacles can spring. Which of the following is NOT mentioned in the general list?
In the table-setting example in Chapter 26, what is the obstacle when it comes from 'The relationship'?
What is the author's response to the question, 'But is there always an obstacle?'
In the author's favorite demonstration of an 'ideal' situation, what is the obstacle when a character who has just been proposed to is told to 'Jump up in the air for joy'?
What happens to the nature of actions and the character's will during the struggle to overcome an obstacle?
In the table-setting example, if you have a pampered life and have never set a table before, this obstacle comes from which source?
For a character who has to sleep during a play, which of the following is suggested as a potential obstacle?
The chapter states that finding obstacles to a character's objectives is what?
In the table-setting example, what is the obstacle stemming from 'Character'?
What is the consequence of trying to set a table 'without an obstacle' while being observed, according to the example in Chapter 26?
The obstacle definition at the start of Chapter 26 describes it as 'That which stands in the way or opposes' and as what else?
According to the example in Chapter 26, 'The dishes are elegant and borrowed' is an obstacle that stems from which source?
What does the author suggest is the result when an actor feels 'like a fool' for just jumping in the air when directed, and then decides gravity is the obstacle?
In the table-setting example in Chapter 26, 'The room is small, and the table hasn’t enough space for the number of settings you require' is an obstacle from which source?
What is the final, climactic line from Hamlet's soliloquy that the author uses as an example of an obstacle to sleep?
The chapter warns against hunting for a score that matches 'The Perils of Pauline' when looking for an obstacle. What does this imply the actor should avoid?
In the table-setting example, 'a heat wave or a cold snap' with a 'Broken furnace' is an obstacle from what source?
What is the key difference between an obstacle originating from 'Your past' and one from 'Character' in the table-setting example?
What are the three main questions an actor should pose to find obstacles?
In the table-setting example, if the dishes are 'chipped, cheap, don’t match, or there aren’t enough to go around', this is an alternative obstacle from which source?
The chapter suggests that your needs should do what in the desire to overcome the obstacles?
What is the primary objective in the simple example of selections for the obstacle presented in Chapter 26?
Chapter 26 mentions a scenario where your main objective is to win a part at an audition, but your competitor is your best friend. This illustrates an obstacle primarily springing from where?
In the audition scenario where your mirror is broken, this is presented as an obstacle to which objective?
What is the author's stated reason for having another favorite demonstration involving a seemingly ideal proposal scene?
If a character comes from a slum and has only recently joined the middle class, creating uncertainty about setting a table, this obstacle is categorized as coming from what source?
The chapter states that if an obstacle isn't inherently clear to you, what should you do?
How many specific, numbered points are listed as examples of obstacles in the table-setting exercise in Chapter 26?
In the table-setting example, 'Your husband is asleep in the next room. The dinner is a surprise, and you don’t want him to hear you' is an obstacle from which source?
What does the author suggest is the problem if a character knows what they want and can achieve it readily without any problem?
What physical reaction does the author describe when successfully playing the obstacle of gravity in the 'jumping for joy' demonstration?
In Chapter 26, obstacles are said to be inherent in or spring from any element of what?
In the table-setting example, what is the obstacle stemming from 'Time'?
What is the implied consequence if the door an actor wants to open is stuck?
The author's demonstration of trying to 'Jump up in the air for joy' without an obstacle initially makes the author feel how?
According to Chapter 26, when an actor asks if there is always an obstacle, what condition must the obstacle meet?
Which of the following is NOT an obstacle for sleeping suggested at the end of Chapter 26?
What does the struggle to overcome an obstacle reveal about the actions?
An actor's search for the crisis, the conflict, and the clash of wills is described in Chapter 26 as a search for what?
Chapter 26 suggests that an obstacle will strongly influence what?
The final point in the numbered list of obstacles for the table-setting scene is 'Et cetera.' What does the inclusion of this point imply?
What is the relationship between an obstacle and an objective as described in Chapter 26?
Why must an actor test their objective against an obstacle, according to the table-setting example?
In the chapter's opening paragraph, finding obstacles is presented as a consequence of understanding what?
The chapter suggests there are obstacles within the overall character objectives. Which example is given?
The main demonstration in Chapter 26, which involves a proposal and jumping for joy, is used to counter what common actor question?
What is the ultimate purpose of finding and using obstacles in acting, according to the principles in Chapter 26?