Make up words or actions,
usually to cover a mistake
in a performance.

Reacting to something before your
character has any reason to do so.

(Although you know perfectly well that somebody is
coming up behind you, your character, who is
supposedly experiencing all this for the very first
time, has no way of knowing until the other
character makes a noise or says a line or walks
where you can see him or her.)
 The moment when the curtain
rises, or the stage lights go on, or
whatever happens to signal the
start of the play or act or scene.
 The end of an act or play, or
the time between scenes of an
act during which the stage
lights are off and/or the
curtain is closed
 The movement of the
characters on the stage
 Becoming yourself on the
stage, instead of the character
you’re playing. Giggling,
laughing, talking with other
actors on stage when you
shouldn’t be. DON’T!
 The line spoken just before your
line, or the signal for you to enter
or perform another action.
Already on the stage
when the scene begins.
 Turning so that your body
passes through the full front
position on your way to your
final position
 Showing instead of doing.
The entire stream of
thoughts that a character
thinks while he or she is on
stage.
 The character’s reason for
doing or saying anything.
 The reason for your blocking.
 What your character wants in a
scene.
 The object or character that
prevents you from reaching your
objective.
 What your character wants in
the play.
 Making sure your
performance is audible and
visible from every seat in the
house.
Activities performed
onstage as a part of your
characterization.
 The thoughts that underlie the
character’s actual words.
 The subtext often determines
the specific way a line is said.
Causing another actor to
turn into a closed position
so that the audience can
see his face.
 The illusion of reality on
stage.