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2:05
-
2:10
|
Adler becomes forceful to emphasize an important point
|
Emotions |
|
2:34
-
2:41
|
Adler ruminates on the opportunism of middle class man
|
Emotions |
|
0:10
-
0:21
|
Adler begins this video in a neutral and informative tone, but soon becomes more dynamic. She does not reach the emotional highs and lows she does in some of the other videos in this collection, but her tone is highly attuned to her subject matter, and in particular what she sees as both Shaw's view of the character she is discussing and the character's view of himself.
|
Emotions |
|
0:21
-
0:39
|
Adler switches to Shaw's perspective, becoming conspiratorial as she relays Shaw's distaste for aspects of the character being discussed. After expressing Shaw's feelings, she mirrors his slightly contemptuous tolerance and understanding of the character.
|
Emotions |
|
0:39
-
0:50
|
Adler displays a somewhat condescending but still humane understanding ofthe character, smiling slightly at his pretensions.
|
Emotions |
|
1:13
-
1:33
|
Adler acts out the inner turmoil of the character being discussed, transitioning to a lighter, more elevated tone as she discusses his aspirations.
|
Emotions |
|
1:45
-
1:48
|
Adler adopts an impersonal stance, analyzing Shaw's intentions and methods, rather than acting out either his or the character's emotions or opinions.
|
Emotions |
|
2:13
-
2:14
|
Adler addresses her students to ask them if she has been clear in telling them to write down the physicality of their characters. They respond "yes" in unison.
|
Students |
|
0:13
-
0:21
|
Motif of "size" and possible point about religion
|
Theory and Technique |
|
0:34
-
0:50
|
Script analysis and character analysis, character background
|
Theory and Technique |
|
1:03
-
1:11
|
Takes moment to read over script then make points/draw conclusions about character
|
Theory and Technique |
|
1:19
-
1:27
|
Talks about physicality and its relation to masculinity and specific masculinities (poet, artist, etc.)
|
Theory and Technique |
|
1:33
-
1:45
|
More character analysis with focus on scripted behavior
|
Theory and Technique |
|
1:49
-
1:58
|
More focus on physical aspects of character
|
Theory and Technique |
|
1:58
-
2:07
|
Advice to "write down the physicality of each character" while watching plays if physicality not in the script
|
Theory and Technique |
|
2:20
-
2:30
|
Once again emphasis on size/masculinity
|
Theory and Technique |
|
2:34
-
2:41
|
Class aspect in relation to size/masculinity
|
Theory and Technique |
|
0:50
-
0:58
|
Adler personalizes Morell's character by positioning herself as the character, "If I'm going to give you the blessings of the lord it's great."
|
Rhetorical device |
|
1:09
-
1:45
|
Adler does an act out of March Banks's character
|
Rhetorical device |
|
1:49
-
1:53
|
Adler describes Shaw's dramatic mode as not leaving anyone "out in the cold" and acts out the meaning of this for her students'
|
Rhetorical device |
|
0:11
-
0:48
|
Adler gives her interpretation of the character of Morell in George Bernard Shaw's Candida, sourcing his motivation not to religious enlightenment but to wanting to be a star who has "found his gimmick."
|
Teaching |
|
2:00
-
2:10
|
Adler advises students to add in physical characteristics of character themselves if the play does not tell them. She authoritiatively tells them to write down the physical characteristics of each character and that Shaw teaches them that.
|
Teaching |
|
2:12
|
Adler asks students if she's being clear
|
Teaching |
|
0:12
-
0:15
|
"Now you see that in the play" as she is shaking her pointer finger
|
Body language |
|
0:18
-
0:20
|
"I'm here to talk about God." When she says God, she lifts her hand above her head, as a way to reference him.
|
Body language |
|
0:23
-
0:29
|
"doesn't like that." She shakes her head no as she says that and she repeats it a few more times and does the same gesture
|
Body language |
|
0:30
-
0:35
|
She moves her head in specific directions as a means to convey and almost lead the conversation with her body
|
Body language |
|
0:42
-
0:47
|
Whenever she talks louder, she shakes her hands more.
|
Body language |
|
0:52
-
0:53
|
"If I'm going to" and then tilts her head back and shakes her head.
|
Body language |
|
0:54
-
0:55
|
Once again when referencing God (this time "Lord"), she raises her hand up above her head and looks up at it
|
Body language |
|
1:00
-
1:01
|
"Mr. Shaw is on to him." She peers up at the audience with her eyes, almost mischieviously
|
Body language |
|
1:07
-
1:08
|
"Now" and then pauses with a claw hand motion.
|
Body language |
|
1:10
-
1:12
|
Creating a character like and then claw open, claw close multiple times.
|
Body language |
|
1:13
-
1:20
|
She is acting it out with her body. She is hunched, then open, then little.
|
Body language |
|
1:27
-
1:35
|
"become some type of man" and she is making circular gestures with her hands while clenching and opening her hands.
|
Body language |
|
1:36
-
1:39
|
Sways side to side as she is trying to find the words
|
Body language |
|
1:40
|
Major jerk at the word "behavior."
|
Body language |
|
1:45
-
1:47
|
Finger up and pointing
|
Body language |
|
1:49
-
1:50
|
"He goes into the back." She takes her arms and through a large circular motion, puts her hands behind her.
|
Body language |
|
1:51
-
1:53
|
"He shrivels up and sits this way." She acts this entire sequence out
|
Body language |
|
1:57
-
2:00
|
She is gesticulating each beat of what she is saying.
|
Body language |
|
2:04
-
2:06
|
More aggresive pointing with the rhythm.
|
Body language |
|
2:20
-
2:21
|
She licks her lips and looks down, while pausing.
|
Body language |
|
2:28
-
2:30
|
"Either spiritually, or intellectually." She is shaking her hand while saying that.
|
Body language |