History

According to the chapter 'History', what is the fundamental concept about people from the past that an actor must realize and change in their perspective?

What does the author suggest is the result of accepting 'convenient or stale traditions' when portraying historical characters?

Instead of immediately assuming the 'manner' of an Oscar Wilde play, what specific, trivial-seeming action does the author suggest an actor could research to give the character 'roots'?

What is the new requirement introduced for the first time in the 'History' exercise?

Which of the following sources for historical research does the author find to be of 'little value'?

What is the main task of the 'History' exercise after the actor has completed their research?

In the example of Nina from 'The Sea Gull', what is the specific task she is performing in the exercise?

What is the stated benefit of exploring the life of one character in great depth, such as one from Russia at the end of the nineteenth century?

What does the author explicitly state that she does NOT expect an actor to do for the 'History' exercise?

How does the chapter describe the ultimate feeling an actor should have when successfully undertaking the 'journey back into time'?

What is the author's advice on how an actor should approach making a historical costume like a hoopskirt their own?

For the 'History' exercise, the author specifies that the chosen character should be from a play the actor considers to be 'historical in time'. How is this defined?

What is the primary purpose of the actor's research into customs, habits, and social influences of a historical period?

In the detailed example of researching Nina from 'The Sea Gull', which of these specific questions is posed regarding the act of writing?

What is the author's response to the potential question of whether the 'History' exercise is an 'awful lot of work' for a two-minute performance?

Which character does the author suggest an actor could explore 'readying himself for a council meeting' to learn about wearing a toga?

What is the primary role of 'endowment' in the 'History' exercise?

According to the chapter, for the purpose of the 'History' exercise, what is considered irrelevant about the objects and clothing the actor uses?

What fundamental belief about human beings underpins the entire approach to playing historical characters in this chapter?

What does the author suggest is the danger of an actor immediately seeing themselves 'in “result” terms' when reading a historical play?

When beginning research for a historical character, what does the author advise about the nature of that research?

What kind of details should an actor research about a historical character's daily life, according to the chapter?

Why does the author advocate for rebelling against stale traditions in portraying historical characters?

In the author's view, which selection is a critical part of making research choices for a historical character?

What is the author's opinion on the importance of the selection and identification process for the 'History' exercise?

Which character is used as an example for an actor to explore 'getting ready for, or coming back from, a Venetian ball'?

What does the author believe will happen to an actor's behavior if they successfully make readily available objects and clothing feel accurate for a historical period?

What term does the author use to describe the kind of lifeless, traditional portrayal of a historical character that should be discarded?

What is the author's view on the relationship between an actor's personal life experience and the 'History' exercise?

What is the author's primary concern with an actor simply putting on the 'tights of Hamlet'?

What specific channels does the author mention that will 'most stimulate the imagination' during historical research?

How should an actor identify with the historical time of their character?

According to the chapter, why is it important for an actor to make a character like Brutus or Desdemona's historical context real?

What is the author's advice regarding the dramatic events of the play during the 'History' exercise?

In the author's reflection on the amount of work for the 'History' exercise, she mentions exploring the life of one character in a specific city and time period. Which city is mentioned?

What does the author suggest is the ultimate job of the designer and director regarding historical accuracy?

The chapter on 'History' is part of a larger section of the book titled 'The Object Exercises'. How does the chapter connect to this theme?

What is the author's core argument against actors playing historical figures like they are from a 'wax museum'?

According to the author, what has changed about human beings over time?

Which of the following is NOT mentioned as a detail to research for the example of Nina from 'The Sea Gull'?

The selection you make for the 'History' exercise should be made from what basis?

What is the key difference between how the author approaches researching history for a role versus a traditional academic approach?

What must an actor do to truly make a hoopskirt 'yours'?

How many plays does the author suggest an actor might uncover the historic realities of by exploring one character from London at the turn of the sixteenth century?

The 'History' chapter concludes by stating the journey back in time should be like visiting an unfamiliar country in what specific temporal state?

Which of these is NOT an example of a character the author suggests for the 'History' exercise?

What is the primary condition for the clothing and objects used in the 'History' exercise?

What is the reason the author gives for the 'History' exercise being the first time an actor is asked to use a specific character from a play?

The author states that one should research the 'social and political influences on the people' of a historical period. What is the intended outcome of this research for the actor?

What does the author suggest an actor will learn by eliminating 'historic distance and strangeness' for one specific period?