1. AS AN ACTOR…. WHAT CAN I TALK ABOUT?

2. SQA MARKING GUIDELINES SAY YOU MAY COMMENT ON ANY OF THE FOLLOWING;
Characterisation
Acting techniques
Acting style
Stage proxemics
Interaction between characters
Use of voice and movement
The relationship between the spoken text and physical movement or gesture
Actor/ audience relationship
Use of costume/make- up/set/props

3. PRACTITIONERS (IE. STANISLAVSKI SYSTEM, MEYERHOLD, BRECHT, GROTOWSKI…)
VOICE & MOVEMENT
Articulation
Fluency
Intonation
Register
Clarity
Pause
Pitch
Accent
Pace
Timing
Tone
Volume
Emphasis
Stance
Balance
Body Language
Gesture
Facial Expression
Mime
Posture
Slow Motion
Blocking
Masking
Use of levels
Use of space
Rhythm
ACTING STYLE
THERE ARE ONLY TWO TO CHOOSE FROM…
NATURALISTIC OR
STYLISED
ACTING TECHNIQUES
(MORE SPECIFIC THAN JUST VOICE AND MOVEMENT)
PRACTITIONERS (IE. STANISLAVSKI SYSTEM, MEYERHOLD, BRECHT, GROTOWSKI…)
METHOD ACTING
SYMBOLISM
CHARACTERISATION
MANNERISMS
BEHAVIOUR
HABITS
GESTURES
INTERACTION BETWEEN CHARACTERS
EYE CONTACT
DIALOGUE
SUBTEXT
MIRRORING
SUGGESTION
ACTOR/AUDIENCE RELATIONSHIP
Aware of audience or not.
Impact – emotion – dramatic effect – thought provoking
STAGE PROXEMICS
Use of space to
create distance that can represent a relationship
SPOKEN TEXT VS PHYSICAL MOVEMENT
Consider subtext and how to convey this physically

4. There are two ways of conveying information about a character:
CHARACTERISATION
the concept of creating characters 
There are two ways of conveying information about a character:
Direct or explicit;
The writer literally tells the audience/actor what a character is like. This may be done via the narrator, another character or by the character him or herself. You may therefore, as an actor, make use of textual references.
Indirect or implicit;
The actor must infer for themselves what the character is like through the character’s thoughts, actions, speech (choice of words, way of talking), looks and interaction with other characters, including other characters’ reactions to that particular person. This is the process of character development.

5. ACTOR/AUDIENCE RELATIONSHIP
Presentational acting:
Refers to a relationship that acknowledges the audience.
Can be direct such as addressing them in a monologue or aside.
Can also be indirect such as general attitude or use of language/looks/gestures. Either way, it indicates that the character or actor is aware of the audience's presence.
Representational acting:
Refers to a relationship in which the audience is studiously ignored. Actors remain in-character and absorbed in the dramatic action whilst the audience simply look on and ‘spy’.
The actor behaves as if a fourth wall was present, which maintains a divide of dramatic fiction from reality.

6. ACTING STYLE NATURALISTIC
Or realistic; drama which replicates real life. 
See Stanislavski System – a system for encouraging actors to become emotionally and psychologically involved with their roles, in order to create a convincing, realistic performance.
Some characteristics are; characters who act and talk like real people, settings that are real and from modern times like homes, workplaces, bars and restaurants, and the subject matter deals with real events and social/political issues.
NON - NATURALISTIC
Or stylised; distinctly removed from truth, describing and portraying something that isn't necessarily there.
Some characteristics could be playing with space, time or object.
Non-realistic acting means that the actor in no way acts as he would do in real life. See Antonin Artaud for inspiration.

7. MEISNER; To react truthfully rather than by manipulation.
ACTING TECHNIQUES
STRASBERG; Researching every aspect of your character, especially your backstory and personal life before the narrative of the show begins. You should become so familiar with your characters' lives, the characters would be just as constant as your own life.
STANISLAVSKI SYSTEM; Aims to replicate real life, encouraging you to be ‘in the moment’ but always staying one step away from complete belief. Draws on personal emotion to portray character realistically.
MEYERHOLD; mixing psychological response with gestures and movement to express emotion. Physical movements should elicit emotion in you rather than the other way round.
BRECHT; the theory that plays should not cause the audience to react emotionally with characters but to provoke self-reflection and critical views in the audience member themselves. 
MEISNER; To react truthfully rather than by manipulation.
METHOD ACTING; Living day to day as your character. Complete belief in who you are and what you are doing.
SYMBOLISM; implies a greater meaning than the literal suggestion and is usually used to represent something other than what it is at face value. Completely stylised.

8. SPOKEN WORD VS PHYSICAL MOVEMENT
Spoken word is the language used, or the performance of the words themselves. Consider dynamics, rhythm, repetition, pause, emphasis, slang or rhyme.
Physical movement is non-verbal communication - use of the body to communicate particular messages. Consider facial expression, gesture, posture, body language and eye contact.
Subtext is content underneath the dialogue; it is what happens when spoken text and physical movement contrast, where other emotions are implied. Subtext is the unspoken thoughts and motives of characters - what they really think and believe. An actor may say one thing with his mouth but signal another thing with his body.

9. REMEMBER TO LINK IT TO THE QUESTION –
IN THIS CASE…
How would the actor use voice or movement to show strength/weakness? How would the actor interact with other characters to show strength/weakness? How would the actor interact with the audience to show strength/weakness? How would the actor use the space to show strength/weakness? How would the actor use their costume to show strength/weakness? How would the actor use props to show strength/weakness? How would the actor use make-up to show strength/weakness? How would the actor use props to show strength/weakness? How would the actor use the set to show strength/weakness?

10. VOICE Articulation Fluency Intonation Register Clarity Pause Pitch
CONVENTIONS
alternative ways of presenting all or parts of a presentation
Slow motion
Tableau (C) / Frozen Picture (F)
Freeze Frame –action frozen in time
Soliloquy
Flashback/flash forward
Narration
Voice Over( recorded speech played during a drama)/
Voice in Head (recall words said by others about a character or situation)
Mime
Monologue
soliloquy
OTHER ACTING TECHNIQUES
Aside- to audience only
Stage whisper
Masks
stereotype
VOICE
Articulation
Fluency
Intonation
Register
Clarity
Pause
Pitch
Accent
Pace
Timing
Tone
Volume
Emphasis
MOVEMENT
Stance
Balance
Body Language
Gesture
Facial Expression
Mime
Posture
Pace
Timing
Slow Motion
Blocking
Masking
CHARACTERISATION
- the process of developing a character fully
Character
Role Play
-exploring attitudes and beliefs
Thought Tracking
- when prompted the character says their thoughts out loud
Voice in the Head
Writing in Role
Hot Seating
Thought Tunnel
-character walks past other characters.
Those other characters speak their thoughts outloud
usually about the character walking past.

11. Lighting Follow Spot Profile Spot Fresnel Flood Light (gauze)
Set
Back cloth
Cyclorama
Gauze
Flies
Door Flats
Window Flats
Flats
Scenery
Trapdoor
Rostra
Treads
Truck
Wings
Backstage
Lighting
Follow Spot
Profile Spot
Fresnel
Flood Light
(gauze)
Barn Doors
Gobo
Gel
Pyrotechnics
Focusing (the lights)
Black out
Slow fade
Cross fade
Snap-to
Props
objects used by actors
Personal Prop
Set prop
Costume
Period Costume
Write in super detail for full marks
Staging
Venue
Thrust
Theatre in the round
End on
Proscenium Arch
Avenue
Auditorium
Revolving Stage
Ground plan
Key
Rake
Enter/exit
Audience
Sight lines
Stage Directions
Stalls, balcony, dress circle
Make Up
liners
Wax/nose putty
Crepe hair
Fake blood
Latex
Spirit gum
Makeup pallets
Stipple sponge
Scarring
Skull cap
Tooth varnish
Sound
Sound cue
Cross fade
Recorded voice over

12. C A B D E F G K Central Character Complex Character
Important Character
Minor Character
Main Character
Pivotal Character
Characterisation
Character Behaviour
Character Motivation
Character Development
Character Interaction
Relationships between Character A
Acting Style
Actor/Audience Relationship B
BLOCKING D
Design Concepts
Dialogue
Drama Media
(aka projections, video, sound scapes)
Drama Process
Dramatic Feature
Dramatic Tension
Points of Tension
Moments of Tension
Dramatic Irony
Duologue E
Episodic Structure F
Focus G
Given Circumstances
Ground Plans K
Key Scene
Key Moment

13. 1313 M P T S V U Message Mood Performance Analysis
Set
Setting
Site Specific Theatre
Special Effects
Textual Evidence
Traditional Theatre
Stage Imagery
Status
Stimulus
Subtext
Symbols and Imagery P
Performance Analysis
Performance Concepts
Pre-Show
Plot
Protagonist/Antagonist
Plot Twists
Purpose
Stage Proxemics
Positioning T
Textual Evidence
Traditional Theatre
Target Audience
Tension
Textual Analysis
Theatrical Background
Themes and Issues
Time period
Passage of Time
Shifts in Time V
Venue U
Use of levels