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0:10
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1:05
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Adler has both hands on her spectacles for the beginning of the class, finally removing one to adjust paper on table. Her hand goes right back to her glasses.
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Body Language |
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2:54
|
After spending the beginning of the video making very subdued gestures with her fingers, not removing her hands from her glasses, Adler for the first time takes a hand off of her glasses to make large hand motions. She starts by tapping the table for emphasis.
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Body Language |
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3:00
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3:08
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Adler makes a claw with her hand and moves it forward for emphasis.
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Body Language |
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3:10
|
Adler puts on her glasses.
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Body Language |
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3:18
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3:28
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Adler takes her hand off of the table but keeps it hovering low, moving it forward for emphasis with vocal emphases.
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Body Language |
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3:31
|
Adler points in the air with her elbow on table.
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Body Language |
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3:51
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3:55
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Adler makes broad, sweeping gestures in the air.
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Body Language |
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3:57
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4:02
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Adler uses forward hand motion for emphasis.
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Body Language |
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4:13
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4:19
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Hands on glasses for this clause and next few.
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Body Language |
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4:20
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4:23
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Hands off glasses for this one, gesturing with mock exasperation, letting hand fall to the table with the punchline.
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Body Language |
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2:39
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Henrik Ibsen
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Important figures |
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0:32
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1:02
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Adler gives some oblique autobiography, stating she realized when she was young that no one would help her--they didn't know how!
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Rhetorical Device |
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0:15
-
0:20
|
Adler asks the a class direct question.
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Teaching |
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1:05
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3:08
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Adler expounds her philosophy of acting as requiring literary interpretation and understanding of the context in which the work was written.
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Theory and Technique |
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2:55
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3:29
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Adler says that understanding the context in which Ibsen wrote A Doll's House can help the actor to understand why he wrote it.
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Theory and Technique |
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3:30
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4:23
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The actor can convey information to other actors that academics cannot. Unfortunately, actors have not taken a sufficiently intellectual approach to their roles.
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Theory and Technique |