What is the third purpose of self-observation listed at the end of the chapter?
Explanation
This is a direct recall question testing the reader's knowledge of the specific, numbered list of purposes for self-observation that result from endowment work.
Other questions
According to the chapter, what is the 'essence of make-believe' contained within the endowment exercise?
When an actor endows a cup of cold water with the properties of hot coffee, what is a key part of the recalled behavior described in the text?
In the example of the actress polishing shoes on stage, what was the solution to the problem of real polish staining her costume?
For the endowment exercise, what is the minimum number of tangible objects an actor is instructed to find and endow?
What defines a 'dangerous object' in the context of the chapter on endowment?
When discussing the act of threading a needle on stage, what is the author's suggested solution for making the task controllable?
How does the author describe the reality created on stage through the practice of endowment?
According to the chapter, what should an actor do when taking a 'stiff drink' on stage as part of an endowment exercise?
When an actor endows an object, such as a knife, what additional layer beyond physical properties like 'sharpness' can be added to it?
What is the key difference in how an actor would handle a knife from Hammacher Schlemmer's versus an identical one from Woolworth's?
What is described as a by-product of rehearsing endowment exercises, related to the actor's daily life?
The author lists four purposes for establishing habits of self-observation. What is the first purpose mentioned?
What is the ultimate goal or outcome of discovering all the areas of endowment and self-observation?
In the example of the author playing a role in 'The Farewell Supper', what was the five-course gourmet meal actually made of?
Why does the author prefer to endow a plastic lipstick with color and greasiness rather than use real lipstick on stage?
What does the author suggest an actor do first when experimenting with endowing nail polish?
When an actor endows three objects in an exercise, what is the relationship between them?
What does the author say will happen if an actor simply jumps from one endowed object to another while checking the accuracy of their execution?
How must all objects be endowed to send an actor 'richly into action from moment to moment'?
What is the second listed purpose of establishing habits of self-observation from the endowment exercises?
What is the primary emphasis for endowment exercises, even though psychological endowment is possible?
The chapter suggests that if a student is preparing a splendid meal for a lover and has a bad cold, endless ideas for objects to endow will occur. This illustrates what principle?
According to the author, when the endowment exercise is ready for presentation, how aware should the actor be of the endowments?
How does the author suggest learning to endow an object with properties like 'sweetness, stickiness, quantity, running juices or butter'?
The chapter explains that a wax or plastic rose on stage must be endowed with more than just the texture and aroma of a real rose. What else determines how it is dealt with?
What does the author state is the purpose of establishing habits of self-observation like noticing how one's head pulls back from an oven's heat?
What is the reason given for why the author had to use a substitute for the five-course meal in 'The Farewell Supper'?
When an actor successfully reconstructs the behavior of polishing nails with an empty bottle, what reflex action will indicate their belief in the endowment?
The chapter states that almost nothing in a character's life is 'what it is'. What must the actor do to make it so?
What is the fourth and final purpose of self-observation listed at the end of the chapter?
According to the chapter, why is using a needle with a tiny eye and fine thread on stage considered a 'dangerous object' for an inexperienced actor?
In the context of endowment, what does it mean to 'charge' or 'load' an object?
The chapter refers back to 'Chapter 5, Sense Memory' as a foundation for the endowment exercise. This implies that endowment is primarily achieved through what method?
The example of turning an apple into an onion is used to illustrate what concept?
In the example of the twenty-dollar knife from Hammacher Schlemmer, what endowed history is given to it?
What does the author suggest to give variation to the three endowed objects in an exercise?
What is the consequence of failing to endow an object, such as a dull knife, with a particular history?
What did the author do to create 'a relish for eating, slurping and gulping' while eating a five-course meal on stage?
The author expresses that she looks forward to seeing an inexperienced actor thread a needle on stage. Why?
What common trait is shared by 'actually physically dangerous objects' like sharp knives and 'dangerous objects' like fine silk thread?
How does the chapter suggest an actor should treat their endowed objects when the exercise is ready for presentation?
What is the primary reason an actor might choose to endow the removal of 'seemingly sodden clothing' rather than using actually wet clothes?
What happens to an actor's spontaneity as they become more aware of their own secondary and reflex behaviors through endowment exercises?
Why must an endowed object like a rose be dealt with differently if it's from a detested person versus a loved one?
The chapter lists several examples of endowment, such as shaving without a blade or cooking without heat. What do these examples have in common?
What is the final metaphor the author uses to describe the result of doing endowment and self-observation exercises?
When an actor has mastered the endowments of individual objects, what must they do to avoid simply jumping from one to the other?
What physical consequence resulted from the actress polishing shoes with real black polish in the dress rehearsal?
The chapter states that 'we must make it so!' in reference to a character's life. What does this mean in practice for an actor?