Somethinggoes wrong(on purposeor not)Stanislavskimoment ofrealemotionBrecht -talksdirectly toaudienceActor playsmore thanonecharacter ina sceneSomethinggoes wrong(on purposeor not)Breakingthe FourthWallActorvoicesmultiplecharactersSpolin-styleimprovenergyOver the topShakespeareanemotionBreakingthe FourthWallExaggerateddeath sceneStanislavskimoment ofrealemotionSpolin-styleimprovenergyAudienceInteractionCross-GenderCastingChekhov-like biggestureActor usesa prop in anunintendedwayimprovisedline ormistakeMeisnermoment ofreactiontruthfully topartnerAdler -ExaggeratedfacialexpressionsActor“Steps into”then “out of”characterAdler -ExaggeratedfacialexpressionsActor forgetsa line andcovers it withhumorActor playsmore thanonecharacter ina sceneAudienceInteractionBrecht -talksdirectly toaudienceActor usesa prop in anunintendedwayPracticalAesthetics –Actor statesclear, playableobjectivesHagen -Actorswitchesrolls instantlyAdler -Exaggeratedvillain voiceor postureOver the topShakespeareanemotionAdler -Exaggeratedvillain voiceor postureActor“Steps into”then “out of”characterCross-GenderCastingSlapstickorPhysicalComedyActorvoicesmultiplecharactersExaggerateddeath sceneimprovisedline ormistakeSlapstickorPhysicalComedyActor forgetsa line andcovers it withhumorHagen -Actorswitchesrolls instantlyMeisner:moment ofreactiontruthfully topartnerFast-paced wig/ propchangePracticalAesthetics –Actor statesclear, playableobjectivesMeisner:use ofrepetitionChekhov-like biggestureFast-paced wig/ propchangeSomethinggoes wrong(on purposeor not)Stanislavskimoment ofrealemotionBrecht -talksdirectly toaudienceActor playsmore thanonecharacter ina sceneSomethinggoes wrong(on purposeor not)Breakingthe FourthWallActorvoicesmultiplecharactersSpolin-styleimprovenergyOver the topShakespeareanemotionBreakingthe FourthWallExaggerateddeath sceneStanislavskimoment ofrealemotionSpolin-styleimprovenergyAudienceInteractionCross-GenderCastingChekhov-like biggestureActor usesa prop in anunintendedwayimprovisedline ormistakeMeisnermoment ofreactiontruthfully topartnerAdler -ExaggeratedfacialexpressionsActor“Steps into”then “out of”characterAdler -ExaggeratedfacialexpressionsActor forgetsa line andcovers it withhumorActor playsmore thanonecharacter ina sceneAudienceInteractionBrecht -talksdirectly toaudienceActor usesa prop in anunintendedwayPracticalAesthetics –Actor statesclear, playableobjectivesHagen -Actorswitchesrolls instantlyAdler -Exaggeratedvillain voiceor postureOver the topShakespeareanemotionAdler -Exaggeratedvillain voiceor postureActor“Steps into”then “out of”characterCross-GenderCastingSlapstickorPhysicalComedyActorvoicesmultiplecharactersExaggerateddeath sceneimprovisedline ormistakeSlapstickorPhysicalComedyActor forgetsa line andcovers it withhumorHagen -Actorswitchesrolls instantlyMeisner:moment ofreactiontruthfully topartnerFast-paced wig/ propchangePracticalAesthetics –Actor statesclear, playableobjectivesMeisner:use ofrepetitionChekhov-like biggestureFast-paced wig/ propchange

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