TIMING
ability "to move and speak in precise manner at right moment for particular impact; pacing of action
RHYTHM
ability to understand and utilise the rhythmic expression of the play - dictated by script, director, other actors, type of play
STYLE
ability to absorb and produce particular way of presentation; unified form of any play dictated by director's vision, company agreement; conventions of particular type of play, particular period of theatre
PACE
ability to regulate speed of delivery and speed of action - dictated by dramatic potential
ATMOSPHERE
ability to create atmosphere - self-belief so that audience believe (Stanislavski - if, imagination
INTERACTION
communication with, and reaction to other actors; identification with relationships within roles with other characters
CHARACTERISATION
ability to create a believable character within a role - through analysis, understanding, discussion, improvisation, belief, faith, living the part (Stanislavski - action, imagination, faith and a sense of truth, emotion memory; threshold of subconscious)
EMOTIONAL IMPACT
ability to feel right emotions within the role, and communicate them to audience (Stanislavki - fundamental of system)
FOCUS
ability to hold attention of actors and audience, and to direct attention of audience to specific persons or areas of stage (Stanislavski - circles of attention)
SUSTAIN
ability to sustain a role through an entire play; to sustain momentum, mood, atmosphere, pace as required.
GENEROSITY
ability to offer something to play off to others; ability to allow focus to be with other actors
STILLNESS
ability to show thoughts and emotions without movement (Stanislavski – dramatic inaction)
SPATIAL AWARENESS
ability to create space around self and other actors; positioning - in relation to each other/to audience; physical movement on stage; utilisation of props or set
BREATH CONTROL
ability to control breath for vocal projection; for physical control of energy and use of voice
STAMINA
ability "to maintain energy, sustain role or momentum
STRENGTH
ability to maintain stamina, fitness for physical and vocal control; for emotional control - carrying it through (emotional tension/sensation is physically draining)
RELAXATION
ability to use voice and body without damage; to allow emotions to come through within character .at points of high tension (Stanislavski - relaxation of muscles;
threshold of subconscious [section 2]
CONTROL
ability to have power over voice, body; relaxation and suppleness of body; over scene; over audience response (Stanislavski - communion, adaptation)
COMMUNICATION
ability to be in communication with other actors; with audience (Stanislavski communion, adaptation)
PHYSICAL
flexibility - characterisation; use of positions; type of walk, limp, injury; how to hold body
versatility - able to adapt postures to different characterisations; move body in variety of ways
adaptability - adjust -for character, to other actors, to audience, to set, to stage (differs in different theatres)
agility - body easily able to adopt any required posture
ability "to move and speak in precise manner at right moment for particular impact; pacing of action
RHYTHM
ability to understand and utilise the rhythmic expression of the play - dictated by script, director, other actors, type of play
STYLE
ability to absorb and produce particular way of presentation; unified form of any play dictated by director's vision, company agreement; conventions of particular type of play, particular period of theatre
PACE
ability to regulate speed of delivery and speed of action - dictated by dramatic potential
ATMOSPHERE
ability to create atmosphere - self-belief so that audience believe (Stanislavski - if, imagination
INTERACTION
communication with, and reaction to other actors; identification with relationships within roles with other characters
CHARACTERISATION
ability to create a believable character within a role - through analysis, understanding, discussion, improvisation, belief, faith, living the part (Stanislavski - action, imagination, faith and a sense of truth, emotion memory; threshold of subconscious)
EMOTIONAL IMPACT
ability to feel right emotions within the role, and communicate them to audience (Stanislavki - fundamental of system)
FOCUS
ability to hold attention of actors and audience, and to direct attention of audience to specific persons or areas of stage (Stanislavski - circles of attention)
SUSTAIN
ability to sustain a role through an entire play; to sustain momentum, mood, atmosphere, pace as required.
GENEROSITY
ability to offer something to play off to others; ability to allow focus to be with other actors
STILLNESS
ability to show thoughts and emotions without movement (Stanislavski – dramatic inaction)
SPATIAL AWARENESS
ability to create space around self and other actors; positioning - in relation to each other/to audience; physical movement on stage; utilisation of props or set
BREATH CONTROL
ability to control breath for vocal projection; for physical control of energy and use of voice
STAMINA
ability "to maintain energy, sustain role or momentum
STRENGTH
ability to maintain stamina, fitness for physical and vocal control; for emotional control - carrying it through (emotional tension/sensation is physically draining)
RELAXATION
ability to use voice and body without damage; to allow emotions to come through within character .at points of high tension (Stanislavski - relaxation of muscles;
threshold of subconscious [section 2]
CONTROL
ability to have power over voice, body; relaxation and suppleness of body; over scene; over audience response (Stanislavski - communion, adaptation)
COMMUNICATION
ability to be in communication with other actors; with audience (Stanislavski communion, adaptation)
PHYSICAL
flexibility - characterisation; use of positions; type of walk, limp, injury; how to hold body
versatility - able to adapt postures to different characterisations; move body in variety of ways
adaptability - adjust -for character, to other actors, to audience, to set, to stage (differs in different theatres)
agility - body easily able to adopt any required posture
