| A | B |
|---|
| "No Training" Theory | Gives no credit to training for actors. |
| Humphrey Bogart | "The key to good acting is to remember your lines and don't trip over the furniture." |
| "Trained Acting" Theory | Gives credit to training for actors. Most actors today agree with this theory. |
| Two | The number of techniques for "trained acting." |
| Technical Acting | Also called "presentational acting" and "external acting. |
| Imitate | With "technical acting," actors do this for the characters they play. |
| talents | Juggling, dancing, fencing, singing, etc. are examples of these, which are often part of technical acting. |
| "The outside In" | Many actors and directors view technical acting as acting from ... |
| their environment | Actors are awared of this when using technical acting techniques. |
| emotional, physical, and intellectual personalities | In technical acting, these elements are considered for a role. |
| believable character, fits playwright's plan | The ultimate goals of technical acting. |
| watch people | To get "into character," technical characters often do this. |
| Chuck Norris | An example of a modern day technical actor with extensive training in martial arts. |
| Sir Laurence Olivier | A famous Shakespearean actor, known for his "technical acting." |
| "Method Acting" | Also called "representational acting." |
| Constantin Stanislavski | "Everything an actor does is based on the characters internal need." |
| experiential | With method acting, the most obvious change was changing from presentational to this. |
| "Inside out" | Method acting involves acting from . . . |
| actually happening | Using method acting, an actor views events in the character's life as if they are . . . |
| the audience | With technical acting, the actors are aware of this group. |
