Improvisation

What does the author describe as the "ice-cold shower-shock" that can be a problem for actors, including great stars?

According to the author, what are the two incorrect, extreme ways that actors typically handle the shock of an entrance?

What are the three essential questions an actor should answer in their preparation immediately before making an entrance?

What is the author's stated goal for an entrance, summarized by the phrase "I want to be in, not on!"?

In the first example of the entrance exercise, what is the actor's first and immediate objective after getting out of bed in the morning?

When applying the entrance exercise to scene work in a play, the author states that off-stage stimuli and doings will have little or no value unless they serve what purpose?

How many additional principles does the author list for applying the entrance exercise to scene work with a character in a play?

The author provides an example of an actor playing a fight manager who solved his entrance problem and transformed his character by imagining what specific circumstance?

What play does the author mention in the final paragraph as featuring a magical and memorable first entrance by the actress Laurette Taylor?

According to the author, what is the negative consequence of simply paying lip service to the three preparation steps or mechanically clicking them off?

What incorrect backstage behavior does the author warn against, where an actor considers themselves a "pro" who doesn't need preparation?

What does the author suggest an actor must convince themselves of with "true innocence" while waiting backstage for their cue?

In one of the entrance exercise variations involving the kitchen, what event causes the actor to enter laughing?

What is the second principle for applying the entrance exercise to scene work, concerning the character's state of being?

Laurette Taylor's memorable entrance in the play "Outward Bound" is described as magical because she came onto the stage in what specific manner?

What is a key assumption the author makes about the actor before they even begin the three-step preparation backstage?

In the example of coming home on a crisp October day, what is the immediate event happening as the actor stands outside their front door?

What does the third principle for applying the entrance exercise state about the nature of an actor's personal preparation?

According to the fourth principle of application, under what condition might an entrance be chosen for its own sake rather than as an essential beginning for the total scene?

What specific backstage activity does the author describe as a "disaster" for an actor waiting in the wings?

The author's goal for the entrance is to create "a continuance of your life." What does this phrase mean in the context of the exercise?

In the first variation of the kitchen entrance example, what physical action is the actor performing in Step 2 while standing outside the door?

To what kind of person, who must warm up for an event, does the author compare herself when discussing preparation?

In the example of arriving home to a ringing phone, what does the actor do with their coat immediately after frantically getting the door open?

The author states that spontaneity and a feeling of immediacy can only be achieved if the actor does what?

What is the nature of the "added dimension" to an entrance, which the author describes under the fifth principle of application?

In the final entrance example provided in the chapter, what does the actor see on the welcome mat that causes them to shiver in disgust and alter their entrance?

What advice does the author give to an inexperienced actor regarding personal preparation for an entrance?

What is the ultimate positive result of the correct and repetitive execution of the entrance exercise, according to the author?

In the initial example involving an early morning entrance into a kitchen, what does the actor do in Step 3 that constitutes the entrance itself?

What is the author's stated purpose in having the actor choose 'primitive' examples for the entrance exercise to begin with?

In the example of coming home to a ringing phone, what does the actor discover is the reason their keys fell?

What does the author identify as the final action of Laurette Taylor's entrance in 'Outward Bound' that completed the moment?

When making an entrance in a play, the actor must come in with the expectancy of the character's life and encounter what?

In the kitchen entrance example, what is the actor's assumed off-stage action in Step 1?

Why does the author state that 'Victory is not a result of panting and puffing and tensing up'?

What problem might arise if an actor is the only one in a production using the 'added dimension' of imagining something like walking into a gale?

In one variation of the entrance exercise, what is the assumed action of Step 1 that leads the actor to enter the kitchen singing loudly?

The author contrasts the task of "entering" with the goal of creating what?

What does the author suggest to 'empty yourself like a vessel' before an entrance?

In the example of the fight manager, what was the actor's initial problem with the role that the 'added dimension' helped to solve?

What physical feature of the set is central to the description of Laurette Taylor's entrance in 'Outward Bound'?

What is the author's response to an actor wondering why their entrance was only successful 'three out of eight first entrances in a week'?

The chapter's title, 'Three Entrances', refers to what?

In the example of coming home to the ringing phone, what does the actor do when the wrong key is being used in the door?

What must be 'fully done' to avoid muddling an entrance or creating anxiety?

What is the very first action described in the second set of entrance examples, where the actor is coming home on a crisp October day?

The author emphasizes that the usefulness of the entrance exercise can go beyond preparation by making the actor examine what?

Why does an actor who is already on stage when the curtain rises have an advantage over an actor who must make an entrance?

What does the author suggest an actor must be tuned into for their off-stage preparations to have value?