Acting Terminology

Action

Something you do to get what you want. Your action is your solution to your problem. Use verbs that are specific, easily understood, and actively done to your partner (examples: scold them, seduce them, persuade them, etc.).

Affective Memory

See emotional recall.

Beat

When appearing in a screenplay, "beat" indicates a pause.

In script analysis, a beat is a section of a scene. Scripts are already divided into scenes by the author. These scenes can be further divided into smaller sections, called beats, by the actor or director. The division between beats is usually marked on a script with a line across the page. Marking the beat changes can help to create variety in the levels of a performance by indicating where to make a change in pace, mood, sound, lighting, or some other aspect of the performance.

Breaking up the beats is a subjective and creative process. Consider:

• A character’s objective or action changes
  
• A character enters or exits
  
• A new topic of discussion

Blocking

The choreographed places where you will stand and movements you will make.

Campy

When exaggerated theatricality is used, often for humor.

Character Arc

How your character changes and grows from the beginning of the story to the end. For example, you may be timid at the beginning and courageous at the end.

Emotional Recall (Affective Memory)

When you recall a personal memory to help you empathize with what the character is feeling. Think back to a time when you felt the way the character does. For your own well-being, avoid anything that is too traumatic. (See also: substitution)

Note: it’s better that you only do this as an exploration exercise while preparing, and remain fully present in the scene when performing.

Fourth Wall

An imaginary wall placed between the stage and the audience to block out the existence of the audience.

Given Circumstances

The circumstances of the story as given by the author. They provide the context of the scene, such as where and when the scene takes place, and what is happening. 

Intention

What you intend to communicate with your words and actions, based on how you interpret the text. For example, “I’m fine” could really mean, “I don’t want to talk about it.” A sentence can be said in many different ways to mean many different things. The actor must interpret what they're really trying to say. 

Justification, Inner

A personal, inner-motivated reason for why you do an action. For example, you open the window because stuffy rooms make you feel hot and uncomfortable.

Justification, Instant 

A straightforward reason for why you do an action. It has to do with what is external and does not involve feelings. For example, you open the window to get some fresh air. 

Mechanical

Relying on external gestures and other affectations to create a mask of the character and emotion. Lacking sincerity.

Metatheatrical

Acting that intentionally creates an awareness of the actors as performers, not attempting to be realistic. For example, a circus act. (See also: presentational)

Method Acting

Method acting is a very misunderstood term. It is most prominently known as an acting technique taught by Lee Strasberg, but some also use the term to refer to the teachings of Konstantin Stanislavski. Strasberg, however, is the one who claimed the term “The Method,” and literally trademarked it. Usually when people talk about Method acting, they are referring to Strasberg. For comparison, Stanislavski was known as the "father of modern acting,” while Strasberg was known as the "father of Method acting.” Stanislavski used the term “system,” while Strasberg used the term “method.” (See also: Stanislavski System)

A notable aspect of Strasberg's technique is that it teaches actors to develop their emotions by using their own personal experiences (see: sense memory). This is controversial and criticized as limited and unhealthy, but it is widely used.

The Hollywood understanding of Method acting is that Method actors go to great extremes in order to personally identify with their characters. People are hailed as great Method actors when they never break character, physically transform their bodies, or put themselves through extreme circumstances to personally identify with a character’s trauma. These practices are not an essential part of Method acting (and can potentially be dangerous), but it is possible that an extreme Method actor would do these things. It's a bit of a running joke to say that someone has gone "too Method."

Moment After

What takes place after the dialogue ends.

Moment Before

What takes place before the dialogue begins. Also called a “pre-beat.”

Motivation

What is driving your words and actions.

Objective

What you want/need from your scene partner. The way you would like them to respond. What you are trying to make them do.

Obstacle

What is getting in your way, and preventing you from getting what you want. Your obstacle is your problem, and it creates conflict.

Presentational

Acting that acknowledges and interacts with the audience. The actor becomes more like a “presenter” addressing an audience. This style of acting was used by Bertold Brecht to create epic theatre. (See also: metatheatrical) (Compare to: representational)

Note: The terms “presentational” and “representational” are often misunderstood and their definitions are mistakenly reversed.

Representational

Acting that ignores the existence of the audience, creating a realistic performance. The acting “represents” reality. (Compare to: presentational) (See also: fourth wall)

Note: The terms “presentational” and “representational” are often misunderstood and their definitions are mistakenly reversed.

Scene Arc

How your emotions change from the beginning of the scene to the end. Your emotion at the end should always be different from the beginning, even in short scenes. (See also: turning point).

Sense Memory 

Recalling something you could see, touch, taste, smell, or hear during an emotional event. Remembering the sensation recalls the emotion. The memory should first be explored in detail with complete relaxation to create the trigger.

Stage Business

The things you keep busy with, such as cooking, typing, or interaction with props. It helps you to have a purpose and be less self-conscious.

Stakes

What you stand to gain or lose. Stakes create urgency.

Stanislavski System

Konstantin Stanislavski was known as the “father of modern acting.” He placed emphasis on living the part rather than performing it, and he organized his teachings into a "system." Most techniques used today are based on what he taught. Before Stanislavski, Classical acting relied more on gestures and other outward affectations to perform.

Substitution

Imagining a different set of circumstances that will provoke a bigger emotional response. For example, imagining your soiled underwear is showing in order to create embarrassment. The imagined circumstances can be made up or from a real memory. For your own well-being, avoid using traumatic memories. (See also: emotional recall)

Note: it’s better that you only do this as an exploration exercise while preparing, and remain fully present in the scene when performing.

Super-Objective

What you want most throughout the story. This helps to define who your character is by identifying the needs that are driving their behavior. 

Table Work

Discussing a scene during rehearsal prior to running it or establishing blocking. This is often done at a table with the director. Some things discussed might be given circumstances, motivations, character building, historical research, and overall clarity of the text.

Turning Point

Also called a transition, shift, or pivot. It's a specific moment when the scene takes a turn. Look for the thing that you react to hardest. Identify the exact moment so that you can heighten the contrast of before and after. These transitions can be some of the most interesting moments.