The Actor: Introduction

In the introduction, what opinion about acting does Uta Hagen state she used to accept but later rejected?

Uta Hagen compares an untrained young actor attempting 'Hamlet' to which destructive scenario?

What ideal did Laurette Taylor's acting represent for Uta Hagen?

What lesson did Uta Hagen learn from the German actor Albert Basserman during their work on 'The Master Builder'?

What does Hagen identify as the moment she began to dislike acting and lose her love of make-believe?

In what year did Uta Hagen work with director Harold Clurman, an experience she describes as opening a new world in the professional theater for her?

Who did Uta Hagen credit with helping her develop a true technique of acting and making a character flow through her?

According to the text, what is the prerequisite for a would-be actor?

Hagen asserts that talent alone is not enough for an actor. What other qualities does she state can and must be acquired and developed?

What does Uta Hagen claim is the primary motivation for producing even the 'finest and deepest' play on Broadway?

What does Uta Hagen mean when she quotes Jean Louis Barrault's complaint that theaters in France were becoming like 'garages'?

According to the text, how many subsidized repertory theaters did West Germany have at the time of writing?

Hagen states that the eventual failure of noble theatrical ventures in the United States, like the Group Theater, has almost always been connected with what factor?

What does Hagen criticize about the goal to be 'the best actor in America'?

What comparison does Hagen make to argue that actors should practice daily, similar to other artists?

Hagen states that a very gifted actor may be surpassed by a less-talented actor for what reason?

What does Hagen identify as a reason for the collapse of well-intentioned theatrical ventures, besides individual ambition?

What does Hagen warn young actors against when they learn about the negative personal habits of famous actors like John Barrymore or Laurette Taylor?

What is Stanislavsky’s statement that Hagen says is always with her?

When American actors expressed frustration to the French actor Gérard Philipe that they couldn't have his kind of state-supported theater in America, what was his quiet reply?

How does Uta Hagen describe the status of American actors in the absence of a theatrical 'home'?

What does Hagen argue is the problem with ventures that aim simply to do 'good' plays?

What does Uta Hagen identify as the origin of the word 'amateur'?

In the introduction, Uta Hagen describes the Lunts' offstage work during 'The Sea Gull' as an example of what?

How did Harold Clurman's direction differ from what Uta Hagen had become accustomed to?

What does Hagen say is the curse of the physically beautiful actor?

Hagen states that rebellion or revolt is in the very nature of an artist. How does she clarify this statement?

After attending a matinee of another well-reviewed actress in 'The Sea Gull', what did Uta Hagen conclude about critical raves?

Hagen argues that 'self-glorification and narcissism' are like a destructive disease for an actor because they do what?

Why does Uta Hagen state she used examples from European theaters and artists in the introduction?

What comparison does Hagen use to criticize the lay audience's tendency to give actors specific formulas or advice?

What does Hagen believe is the consequence for a young actor who unthinkingly plunges into a role like Hamlet before they are ready?

According to Hagen, how did the work of actor Paul Muni, who denied having a 'method,' reflect deep, subjective work in practice?

What quality did Uta Hagen credit her parents with instilling in her?

What does Hagen identify as the only place where she had known a degree of fulfillment in her profession?

In the introduction, Uta Hagen describes herself as fearful of what kind of acting teachers?

What does Hagen describe as the 'American disease' that the goal of being 'the best actor' epitomizes?

What is the key element of an actor's 'outer instrument' that Hagen says must be trained and perfected?

Hagen argues that an actor must have a point of view about the world. Which of the following does she NOT list as a potential source for this point of view?

What is the 'felonious notion' that Hagen says is compounded when actors listen to backstage advice from aunts and agents?

What specific 'trick' does Hagen confess to using as Nina in 'The Sea Gull' to receive applause?

What does Hagen mean when she says she believes in her work at the HB Studio and the development of a 'first-rate acting company'?

What does Hagen argue is the problem with the 'homely baby' in comparison to the 'beautiful baby,' and what must the homely baby learn?

What does Hagen state is a key attribute of 'character' in the moral and ethical sense that an actor must aim for?

What is the final conclusion of the introduction chapter?

In her youth, what did Uta Hagen believe was the source of her strength as an actor?

Hagen states that to accept 'the way it is' in the theater is the opportunistic way out or the way of what animal?

According to Hagen, what must an actor do to serve the play in a communal, ensemble venture?

What does Hagen suggest about Stanislavsky's relationship to the acting 'precepts' he built?

What is the final goal that Hagen hopes a first-rate acting company developed from the HB Studio might achieve for the American theater?