Brecht -talksdirectly toaudiencePracticalAesthetics –Actor statesclear, playableobjectivesChekhov-like biggestureimprovisedline ormistakeActor“Steps into”then “out of”characterSpolin-styleimprovenergyActor usesa prop in anunintendedwayBreakingthe FourthWallChekhov-like biggestureBreakingthe FourthWallHagen -Actorswitchesrolls instantlyActorvoicesmultiplecharactersMeisnermoment ofreactiontruthfully topartnerAdler -Exaggeratedvillain voiceor postureMeisner:use ofrepetitionActor playsmore thanonecharacter ina sceneSlapstickorPhysicalComedyOver the topShakespeareanemotionAdler -ExaggeratedfacialexpressionsSlapstickorPhysicalComedyPracticalAesthetics –Actor statesclear, playableobjectivesimprovisedline ormistakeActor usesa prop in anunintendedwayOver the topShakespeareanemotionAdler -Exaggeratedvillain voiceor postureStanislavskimoment ofrealemotionSomethinggoes wrong(on purposeor not)AudienceInteractionActorvoicesmultiplecharactersFast-paced wig/ propchangeCross-GenderCastingActor“Steps into”then “out of”characterActor forgetsa line andcovers it withhumorFast-paced wig/ propchangeSomethinggoes wrong(on purposeor not)Actor playsmore thanonecharacter ina sceneAudienceInteractionBrecht -talksdirectly toaudienceAdler -ExaggeratedfacialexpressionsExaggerateddeath sceneExaggerateddeath sceneStanislavskimoment ofrealemotionActor forgetsa line andcovers it withhumorCross-GenderCastingSpolin-styleimprovenergyHagen -Actorswitchesrolls instantlyMeisner:moment ofreactiontruthfully topartnerBrecht -talksdirectly toaudiencePracticalAesthetics –Actor statesclear, playableobjectivesChekhov-like biggestureimprovisedline ormistakeActor“Steps into”then “out of”characterSpolin-styleimprovenergyActor usesa prop in anunintendedwayBreakingthe FourthWallChekhov-like biggestureBreakingthe FourthWallHagen -Actorswitchesrolls instantlyActorvoicesmultiplecharactersMeisnermoment ofreactiontruthfully topartnerAdler -Exaggeratedvillain voiceor postureMeisner:use ofrepetitionActor playsmore thanonecharacter ina sceneSlapstickorPhysicalComedyOver the topShakespeareanemotionAdler -ExaggeratedfacialexpressionsSlapstickorPhysicalComedyPracticalAesthetics –Actor statesclear, playableobjectivesimprovisedline ormistakeActor usesa prop in anunintendedwayOver the topShakespeareanemotionAdler -Exaggeratedvillain voiceor postureStanislavskimoment ofrealemotionSomethinggoes wrong(on purposeor not)AudienceInteractionActorvoicesmultiplecharactersFast-paced wig/ propchangeCross-GenderCastingActor“Steps into”then “out of”characterActor forgetsa line andcovers it withhumorFast-paced wig/ propchangeSomethinggoes wrong(on purposeor not)Actor playsmore thanonecharacter ina sceneAudienceInteractionBrecht -talksdirectly toaudienceAdler -ExaggeratedfacialexpressionsExaggerateddeath sceneExaggerateddeath sceneStanislavskimoment ofrealemotionActor forgetsa line andcovers it withhumorCross-GenderCastingSpolin-styleimprovenergyHagen -Actorswitchesrolls instantlyMeisner:moment ofreactiontruthfully topartner

Acting Techniques in The Complete Works of William Shakespeare (Abridged) - Call List

(Print) Use this randomly generated list as your call list when playing the game. There is no need to say the BINGO column name. Place some kind of mark (like an X, a checkmark, a dot, tally mark, etc) on each cell as you announce it, to keep track. You can also cut out each item, place them in a bag and pull words from the bag.


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  1. Brecht - talks directly to audience
  2. Practical Aesthetics – Actor states clear, playable objectives
  3. Chekhov-like big gesture
  4. improvised line or mistake
  5. Actor “Steps into” then “out of” character
  6. Spolin-style improv energy
  7. Actor uses a prop in an unintended way
  8. Breaking the Fourth Wall
  9. Chekhov-like big gesture
  10. Breaking the Fourth Wall
  11. Hagen - Actor switches rolls instantly
  12. Actor voices multiple characters
  13. Meisner moment of reaction truthfully to partner
  14. Adler - Exaggerated villain voice or posture
  15. Meisner: use of repetition
  16. Actor plays more than one character in a scene
  17. Slapstick or Physical Comedy
  18. Over the top Shakespearean emotion
  19. Adler - Exaggerated facial expressions
  20. Slapstick or Physical Comedy
  21. Practical Aesthetics – Actor states clear, playable objectives
  22. improvised line or mistake
  23. Actor uses a prop in an unintended way
  24. Over the top Shakespearean emotion
  25. Adler - Exaggerated villain voice or posture
  26. Stanislavski moment of real emotion
  27. Something goes wrong (on purpose or not)
  28. Audience Interaction
  29. Actor voices multiple characters
  30. Fast-paced wig / prop change
  31. Cross-Gender Casting
  32. Actor “Steps into” then “out of” character
  33. Actor forgets a line and covers it with humor
  34. Fast-paced wig / prop change
  35. Something goes wrong (on purpose or not)
  36. Actor plays more than one character in a scene
  37. Audience Interaction
  38. Brecht - talks directly to audience
  39. Adler - Exaggerated facial expressions
  40. Exaggerated death scene
  41. Exaggerated death scene
  42. Stanislavski moment of real emotion
  43. Actor forgets a line and covers it with humor
  44. Cross-Gender Casting
  45. Spolin-style improv energy
  46. Hagen - Actor switches rolls instantly
  47. Meisner: moment of reaction truthfully to partner