Over the topShakespeareanemotionActor usesa prop in anunintendedwaySlapstickorPhysicalComedySomethinggoes wrong(on purposeor not)Meisnermoment ofreactiontruthfully topartnerSpolin-styleimprovenergyActor forgetsa line andcovers it withhumorBrecht -talksdirectly toaudienceActor“Steps into”then “out of”characterMeisner:use ofrepetitionPracticalAesthetics –Actor statesclear, playableobjectivesExaggerateddeath sceneCross-GenderCastingSlapstickorPhysicalComedySomethinggoes wrong(on purposeor not)Adler -Exaggeratedvillain voiceor postureAudienceInteractionHagen -Actorswitchesrolls instantlySpolin-styleimprovenergyAdler -ExaggeratedfacialexpressionsActor playsmore thanonecharacter ina sceneChekhov-like biggestureActorvoicesmultiplecharactersBrecht -talksdirectly toaudienceAdler -ExaggeratedfacialexpressionsActor usesa prop in anunintendedwayActor forgetsa line andcovers it withhumorBreakingthe FourthWallFast-paced wig/ propchangePracticalAesthetics –Actor statesclear, playableobjectivesActor playsmore thanonecharacter ina sceneStanislavskimoment ofrealemotionBreakingthe FourthWallOver the topShakespeareanemotionimprovisedline ormistakeCross-GenderCastingExaggerateddeath sceneActor“Steps into”then “out of”characterimprovisedline ormistakeChekhov-like biggestureActorvoicesmultiplecharactersAdler -Exaggeratedvillain voiceor postureHagen -Actorswitchesrolls instantlyMeisner:moment ofreactiontruthfully topartnerAudienceInteractionStanislavskimoment ofrealemotionFast-paced wig/ propchangeOver the topShakespeareanemotionActor usesa prop in anunintendedwaySlapstickorPhysicalComedySomethinggoes wrong(on purposeor not)Meisnermoment ofreactiontruthfully topartnerSpolin-styleimprovenergyActor forgetsa line andcovers it withhumorBrecht -talksdirectly toaudienceActor“Steps into”then “out of”characterMeisner:use ofrepetitionPracticalAesthetics –Actor statesclear, playableobjectivesExaggerateddeath sceneCross-GenderCastingSlapstickorPhysicalComedySomethinggoes wrong(on purposeor not)Adler -Exaggeratedvillain voiceor postureAudienceInteractionHagen -Actorswitchesrolls instantlySpolin-styleimprovenergyAdler -ExaggeratedfacialexpressionsActor playsmore thanonecharacter ina sceneChekhov-like biggestureActorvoicesmultiplecharactersBrecht -talksdirectly toaudienceAdler -ExaggeratedfacialexpressionsActor usesa prop in anunintendedwayActor forgetsa line andcovers it withhumorBreakingthe FourthWallFast-paced wig/ propchangePracticalAesthetics –Actor statesclear, playableobjectivesActor playsmore thanonecharacter ina sceneStanislavskimoment ofrealemotionBreakingthe FourthWallOver the topShakespeareanemotionimprovisedline ormistakeCross-GenderCastingExaggerateddeath sceneActor“Steps into”then “out of”characterimprovisedline ormistakeChekhov-like biggestureActorvoicesmultiplecharactersAdler -Exaggeratedvillain voiceor postureHagen -Actorswitchesrolls instantlyMeisner:moment ofreactiontruthfully topartnerAudienceInteractionStanislavskimoment ofrealemotionFast-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. Over the top Shakespearean emotion
  2. Actor uses a prop in an unintended way
  3. Slapstick or Physical Comedy
  4. Something goes wrong (on purpose or not)
  5. Meisner moment of reaction truthfully to partner
  6. Spolin-style improv energy
  7. Actor forgets a line and covers it with humor
  8. Brecht - talks directly to audience
  9. Actor “Steps into” then “out of” character
  10. Meisner: use of repetition
  11. Practical Aesthetics – Actor states clear, playable objectives
  12. Exaggerated death scene
  13. Cross-Gender Casting
  14. Slapstick or Physical Comedy
  15. Something goes wrong (on purpose or not)
  16. Adler - Exaggerated villain voice or posture
  17. Audience Interaction
  18. Hagen - Actor switches rolls instantly
  19. Spolin-style improv energy
  20. Adler - Exaggerated facial expressions
  21. Actor plays more than one character in a scene
  22. Chekhov-like big gesture
  23. Actor voices multiple characters
  24. Brecht - talks directly to audience
  25. Adler - Exaggerated facial expressions
  26. Actor uses a prop in an unintended way
  27. Actor forgets a line and covers it with humor
  28. Breaking the Fourth Wall
  29. Fast-paced wig / prop change
  30. Practical Aesthetics – Actor states clear, playable objectives
  31. Actor plays more than one character in a scene
  32. Stanislavski moment of real emotion
  33. Breaking the Fourth Wall
  34. Over the top Shakespearean emotion
  35. improvised line or mistake
  36. Cross-Gender Casting
  37. Exaggerated death scene
  38. Actor “Steps into” then “out of” character
  39. improvised line or mistake
  40. Chekhov-like big gesture
  41. Actor voices multiple characters
  42. Adler - Exaggerated villain voice or posture
  43. Hagen - Actor switches rolls instantly
  44. Meisner: moment of reaction truthfully to partner
  45. Audience Interaction
  46. Stanislavski moment of real emotion
  47. Fast-paced wig / prop change