Walking and Talking

What does the author identify as the most probable reason for an actor's sudden physical discomfort and awkwardness when transitioning from sitting to standing on stage?

According to producer and director Arthur Hopkins, as quoted in the chapter, what is the fundamental reason for walking?

How does the author suggest an actor can avoid the cliché of 'mechanical, tense, and general stage wandering' when given a stage direction like 'He wanders restlessly'?

What does the author state has a strong influence on an actor's psychological state, sense of self, and physical manifestation?

What specific, small detail is used as an example of something that could become the 'center of the physicial life of a whole character'?

The 'action of the words,' or how an actor sends them, is described as hinging solely on what?

What does the author describe as a 'fatal' error for an actor's final performance that can arise even before rehearsals begin?

What does the author state is the necessary balance for verbal actions?

What is the ideal outcome of the interaction between verbal and physical behavior, according to the final sentence of the chapter?

What does the author add to Arthur Hopkins's principle that 'The reason for walking is destination'?

In the example of an actor rising from a sofa, what is the consequence of the rise not being connected with the need of the given circumstances?

When making clothing particular, the author suggests doing so with sensory awareness and what other three aspects?

The author contrasts coming to a rehearsal for Blanche in 'A Streetcar Named Desire' with working on which other character to illustrate the importance of clothing?

According to the chapter, the 'total animation of the body' is brought about by a correct incorporation of multiple factors. Which of the following is NOT listed among them?

Which of the following is described as a 'misunderstanding of true verbal action'?

What happens to a 'misinformed, diligent actor' who has memorized rigid 'line readings' before the first rehearsal?

In the example of restless wandering, seemingly illogical objects contacted by the actor must be substantiated by what?

What does the author state is the source of the 'total animation of the words of the character'?

An actor's protective but inaccurate pose when feeling awkward on stage is described as likely being borrowed from what?

In the example of a restless character waiting for a friend, what purpose does crossing to the armchair to rub a grease spot serve?

What does the author suggest is a consequence of 'gratuitously executing stage business'?

The author compares the actor who has memorized rigid line readings to an actor who has set what other element of performance too early?

In the example comparing different outfits for a walk to the drugstore, what single item is changed in the second scenario to alter the character's psychological state?

What must an actor learn about their character to be 'propelled into genuine verbal action'?

How does the author describe the state of an actor who is 'truly alive on stage'?

What is the author's advice for a stage direction like 'He wanders restlessly' to prevent it from becoming a cliche?

According to the chapter, what strongly influences an actor's psychological state of being, even during a simple walk to a drugstore?

What is the reason given for why delivering words mechanically or mumbling without intention are mistakes?

The author finds it impossible to rehearse for the character of Saint Joan while wearing what?

What is the ultimate ideal presented regarding the relationship between walking and talking on stage?

What is the author's primary criticism of an actor following the stage direction 'He rises' without any further justification?

In the example of a character waiting for a friend, why might they cross to a wall mirror and check their hairdo?

What physical items does the author suggest strongly influence the way a character would walk down the street?

What does the author state must make the words inevitable for a character?

What is the author's personal reaction to the idea of coming to a rehearsal for Blanche DuBois dressed in slacks and sneakers?

A movement on stage, according to the chapter, must come from carefully selected action that allows for what two things?

What happens to the actor's mind while their body is engaged in 'true wandering' on stage?

How does the author describe the difference in physical and psychological state when walking in tight blue jeans versus an elegant suit?

Delivering words in the 'old-fashioned manner' is described as projecting them where?

What is the consequence for an actor who falls back into rigid 'line readings' during rehearsals?

In the author's view, what is the problem with an actor simply executing unjustified blocking, like 'He rises'?

What is the author's proposed method for making a stage direction like 'He wanders restlessly' feel authentic?

According to the chapter, what aspect of an actor's performance is so crucial that the author would find it impossible to work on certain roles without the right items?

The animation of a character's words is said to be the 'messenger' of what?

What is the author's view on an actor memorizing lines and inflections before the first reading of a play?

What is the relationship between physical and verbal actions when an actor is 'truly alive on stage'?

Why does an actor who stands up without justification become aware of their hands as 'unnecessary appendages'?

In the author's view, how should an actor approach a direction to 'wander restlessly'?

What does the author suggest about seemingly illogical objects contacted during a 'wandering' scene?

What is the author's conclusion about the interaction between verbal and physical behavior on stage?