Time	Annotation	Layer
0:10 - 0:21	Pointing to emphasize on the word killing, teaching importance of the meeting of these two characters	Body Language
0:29 - 0:32	"Who join together" hands motions mirroring words	Body Language
3:53 - 4:04	Can see her fist clench when she is asking questions about script	Body Language
5:32 - 5:46	Notable body language here, grabbing head while working through the character, pointing/reaching outward	Body Language
5:50 - 5:51	Hands motion matching the words overlapping	Body Language
5:52 - 5:57	Almost acting the scene out with the lines, turning when she mentions turning to the stove	Body Language
7:57 - 8:05	Really long pause here, moving mouth to think through	Body Language
8:40 - 8:54	Another very long pause, looking up this time, moving mouth again, places hand over mouth	Body Language
8:55 - 9:08	Very dramatic/emotional, very revelatory, hugging self, works through the climax of the scene of the two characters meeting	Body Language
0:10 - 0:21	Pointing to emphasize on the word killing, teaching importance of the meeting of these two characters	Body Language
0:29 - 0:32	"Who join together" hands motions mirroring words	Body Language
3:53 - 4:04	Can see her fist clench when she is asking questions about script	Body Language
5:32 - 5:46	Notable body language here, grabbing head while working through the character, pointing/reaching outward	Body Language
5:50 - 5:51	Hands motion matching the words overlapping	Body Language
5:52 - 5:57	Almost acting the scene out with the lines, turning when she mentions turning to the stove	Body Language
7:57 - 8:05	Really long pause here, moving mouth to think through	Body Language
8:40 - 8:54	Another very long pause, looking up this time, moving mouth again, places hand over mouth	Body Language
8:55 - 9:08	Very dramatic/emotional, very revelatory, hugging self, works through the climax of the scene of the two characters meeting	Body Language
3:06 - 3:28	Look at how environment and differences impact a character, leads back to things like class and relationships, also reaches out to class to check in that they are understanding	Theory and Technique
0:37 - 0:46	Asks students a question, possible relation to typage (some people "can't" play the character in question)	Student Interaction
2:07 - 2:19	Tells student not to yawn because "if you are an actress you will not get tired", makes a joke and the rest of the class laughs	Student Interaction
2:20 - 2:27	Her mock acting occurring again, except this time she's mocking a student to make a point and not the play	Student Interaction
2:47 - 2:55	Pauses for class to laugh, smug expression	Student Interaction
1:22 - 1:37	Importance of religion to the middle class, hand starts motioning as she mentions what god has given to the middle class	Body Language
1:40 - 2:06	Hands motioning side to side/circling as she tries to connect points about god and institutions, then starts motioning outward as she describes the actual impact on these things, body language telling story	Body Language
0:22 - 0:35	"Because he's going to give you the histrionic side of the play" He being Ibsen? Goes to talk a bit more about who I'm assuming is Ibsen	Important Person
0:22 - 0:35	"Because he's going to give you the histrionic side of the play" He being Ibsen? Goes to talk a bit more about who I'm assuming is Ibsen	Important Person
0:18 - 0:27	Mention importance of understanding middle class for social situation of the play	Theory and Technique
1:08 - 1:20	Another mention of middle class as "ethical" and "honest"	Theory and Technique
2:28 - 2:37	"There is no you", you're only the character, pretty clear idea of the method coming out	Theory and Technique
2:38 - 2:47	Tries to make a point about the importance of "giving up you" but mocks herself for a moment, good humour about these things	Theory and Technique
2:56 - 2:59	"There is no me"	Theory and Technique
3:43 - 4:03	Historical context of war and possible impact it had on men in society	Theory and Technique
4:11 - 4:23	Historical context on Norway and Ibsen, serious and emotional again, explains impacts war had on Ibsen	Theory and Technique
3:07 - 3:20	Mentions extensive knowledge about Norway, obvious connection to Scandinavian theater/Ibsen, makes extended joke about Norway and how she should just teach the class about Norway, turns away from the class as she jokes	Rhetorical Device
3:21 - 3:29	Mock acting again, this time taking on a Norwegian character to make a funny point to the class	Rhetorical Device
4:05 - 4:08	Long pause, starting to get serious again after joking around, teaching voice back on	Rhetorical Device
4:24 - 4:33	Breaks out of seriousness again as she realizes she has once again adopted Norwegianness (as the method would have it for her character), but nonetheless continues to explain background	Rhetorical Device
0:47 - 0:52	[Reading from script] "It's really me" now, something happens to ME', perspective shift	Theory and Technique
1:17 - 1:32	Employs first person perspective of character to ask questions, the method and becoming the character instead of affective memory	Theory and Technique
2:11 - 2:48	"And I have a lot of words but I have more than that", and begins analysis of Nora's character, delves into familial background and lack of it and can infer the class implications of being an orphan	Theory and Technique
2:57 - 3:05	"I'm beginning to break through that I have to get to the background", can see the method at work here and Adler's emphasis on research	Theory and Technique
7:00 - 7:27	Historical research/context applied to characterization	Theory and Technique
8:05 - 8:16	The "truth" used here, applied to script	Theory and Technique
8:32 - 8:40	Looking out and addressing the classroom very directly and very still, revelatory statement about Nora	Theory and Technique
9:10 - 9:13	Teacher voice again, very calm after drama, reveals that she calls it a "recognition scene", seems to have worked through/figured out the scene as she's teaching it	Theory and Technique
1:07 - 1:40	Acts out part but not necessarily in active "acting voice", prop usage	Rhetorical Device
1:58 - 2:32	More dramatic when asking the character questions this time, begins to get more emotional again, not completely in acting voice but partially	Rhetorical Device
3:24 - 3:41	Pretty clear switch into acting voice, hands almost covering face as she thinks/works through, doesn't look out at students, doesn't stay in acting voice as long, switches back as she says "I don't know what that means"	Rhetorical Device
3:43 - 3:51	Starts moving more as she is actively thinking/working through, acting voice	Rhetorical Device
3:51 - 3:55	Dramatic pause accompanied with mouth/hand movement	Rhetorical Device
4:09 - 4:15	Third? time she's sort of gone down this path of questioning for characters, sort of does the same thing, speeds up while talking, hands on forehead	Rhetorical Device
4:51 - 5:08	Revelatory, rejects text?, "The words are absolutely useless", ends with teaching voice	Rhetorical Device
1:35 - 1:38	Students laughing at her acting out	Student Interaction
0:37 - 0:46	Asks students a question, possible relation to typage (some people "can't" play the character in question)	Student Interaction
2:07 - 2:19	Tells student not to yawn because "if you are an actress you will not get tired", makes a joke and the rest of the class laughs	Student Interaction
2:20 - 2:27	Her mock acting occurring again, except this time she's mocking a student to make a point and not the play	Student Interaction
2:47 - 2:55	Pauses for class to laugh, smug expression	Student Interaction
0:47 - 0:52	[Reading from script] "It's really me" now, something happens to ME', perspective shift	Theory and Technique
1:17 - 1:32	Employs first person perspective of character to ask questions, the method and becoming the character instead of affective memory	Theory and Technique
2:11 - 2:48	"And I have a lot of words but I have more than that", and begins analysis of Nora's character, delves into familial background and lack of it and can infer the class implications of being an orphan	Theory and Technique
2:57 - 3:05	"I'm beginning to break through that I have to get to the background", can see the method at work here and Adler's emphasis on research	Theory and Technique
7:00 - 7:27	Historical research/context applied to characterization	Theory and Technique
8:05 - 8:16	The "truth" used here, applied to script	Theory and Technique
8:32 - 8:40	Looking out and addressing the classroom very directly and very still, revelatory statement about Nora	Theory and Technique
9:10 - 9:13	Teacher voice again, very calm after drama, reveals that she calls it a "recognition scene", seems to have worked through/figured out the scene as she's teaching it	Theory and Technique
4:44 - 5:12	Lots of pauses and she's working through the character, very emotional and she begins to look up and point left away from the audience more, we get to see her active process	Rhetorical Device
5:13 - 5:19	"I'm getting somewhere" breakthrough and then reflects and reels it in, difference between her as a teacher and as an actor, subsequently see her switch between these two states	Rhetorical Device
6:08 - 6:47	Hand motions as she's reading the lines, when she shifts to teaching she reaches her hands out more and they become more still and clasped in front of her. Really notable shifts here in body language between active teaching and working through character	Rhetorical Device
0:36 - 0:48	Begins to move more, acts out motion in front of her head when saying "genius" and physically puts her hand under the other when saying "underneath"	Body Language
2:38 - 2:46	Starts moving side to side more, asks more and more in depth questions, very similar to RDN questions, more emotional as she asks more questions	Body Language
3:57 - 4:05	Each hand seems to symbolize the two characters she's talking about, looking up as she's explaining	Body Language
3:06 - 3:28	Look at how environment and differences impact a character, leads back to things like class and relationships, also reaches out to class to check in that they are understanding	Theory and Technique
0:10 - 0:20	"Where did she come from? Why did she leave? Who is she?"	Theory and Technique
2:50 - 2:59	"I don't know anything but I have now the beginning that... who is she? What do I have to find out about her?"	Theory and Technique
3:06 - 3:23	Script analysis of characters' impacts on each other, pause as she thinks and becomes more emotional as she says "and I read the play", also says "now that's very big" common "big" usage	Theory and Technique
4:16 - 4:22	"It's in the text", process of questioning + revisiting text multiple times	Theory and Technique
4:44 - 5:12	Lots of pauses and she's working through the character, very emotional and she begins to look up and point left away from the audience more, we get to see her active process	Rhetorical Device
5:13 - 5:19	"I'm getting somewhere" breakthrough and then reflects and reels it in, difference between her as a teacher and as an actor, subsequently see her switch between these two states	Rhetorical Device
6:08 - 6:47	Hand motions as she's reading the lines, when she shifts to teaching she reaches her hands out more and they become more still and clasped in front of her. Really notable shifts here in body language between active teaching and working through character	Rhetorical Device