Somethinggoes wrong(on purposeor not)Brecht -talksdirectly toaudienceActor“Steps into”then “out of”characterAudienceInteractionActor usesa prop in anunintendedwayBrecht -talksdirectly toaudienceimprovisedline ormistakeCross-GenderCastingPracticalAesthetics –Actor statesclear, playableobjectivesHagen -Actorswitchesrolls instantlyActor usesa prop in anunintendedwayActor playsmore thanonecharacter ina sceneSlapstickorPhysicalComedyCross-GenderCastingActor playsmore thanonecharacter ina sceneFast-paced wig/ propchangeAudienceInteractionAdler -Exaggeratedvillain voiceor postureBreakingthe FourthWallStanislavskimoment ofrealemotionimprovisedline ormistakeMeisner:use ofrepetitionActor forgetsa line andcovers it withhumorAdler -ExaggeratedfacialexpressionsHagen -Actorswitchesrolls instantlyActorvoicesmultiplecharactersSpolin-styleimprovenergySlapstickorPhysicalComedyActor“Steps into”then “out of”characterPracticalAesthetics –Actor statesclear, playableobjectivesActorvoicesmultiplecharactersAdler -Exaggeratedvillain voiceor postureMeisner:moment ofreactiontruthfully topartnerExaggerateddeath sceneOver the topShakespeareanemotionExaggerateddeath sceneFast-paced wig/ propchangeOver the topShakespeareanemotionChekhov-like biggestureSpolin-styleimprovenergyBreakingthe FourthWallStanislavskimoment ofrealemotionMeisnermoment ofreactiontruthfully topartnerActor forgetsa line andcovers it withhumorSomethinggoes wrong(on purposeor not)Chekhov-like biggestureAdler -ExaggeratedfacialexpressionsSomethinggoes wrong(on purposeor not)Brecht -talksdirectly toaudienceActor“Steps into”then “out of”characterAudienceInteractionActor usesa prop in anunintendedwayBrecht -talksdirectly toaudienceimprovisedline ormistakeCross-GenderCastingPracticalAesthetics –Actor statesclear, playableobjectivesHagen -Actorswitchesrolls instantlyActor usesa prop in anunintendedwayActor playsmore thanonecharacter ina sceneSlapstickorPhysicalComedyCross-GenderCastingActor playsmore thanonecharacter ina sceneFast-paced wig/ propchangeAudienceInteractionAdler -Exaggeratedvillain voiceor postureBreakingthe FourthWallStanislavskimoment ofrealemotionimprovisedline ormistakeMeisner:use ofrepetitionActor forgetsa line andcovers it withhumorAdler -ExaggeratedfacialexpressionsHagen -Actorswitchesrolls instantlyActorvoicesmultiplecharactersSpolin-styleimprovenergySlapstickorPhysicalComedyActor“Steps into”then “out of”characterPracticalAesthetics –Actor statesclear, playableobjectivesActorvoicesmultiplecharactersAdler -Exaggeratedvillain voiceor postureMeisner:moment ofreactiontruthfully topartnerExaggerateddeath sceneOver the topShakespeareanemotionExaggerateddeath sceneFast-paced wig/ propchangeOver the topShakespeareanemotionChekhov-like biggestureSpolin-styleimprovenergyBreakingthe FourthWallStanislavskimoment ofrealemotionMeisnermoment ofreactiontruthfully topartnerActor forgetsa line andcovers it withhumorSomethinggoes wrong(on purposeor not)Chekhov-like biggestureAdler -Exaggeratedfacialexpressions

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