| Time | Annotation | Layer |
|---|---|---|
| 10:00 - 21:00 | Pointing to emphasize on the word killing, teaching importance of the meeting of these two characters | Body Language |
| 29:00 - 32:00 | "Who join together" hands motions mirroring words | Body Language |
| 47:00 - 51:59 | [Reading from script] "It's really me" now, something happens to ME', perspective shift | Theory and Technique |
| 1:17:00 - 1:32:00 | Employs first person perspective of character to ask questions, the method and becoming the character instead of affective memory | Theory and Technique |
| 2:11:00 - 2:48:00 | "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 |
| 2:57:00 - 3:04:59 | "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 |
| 3:06:00 - 3:27:59 | 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 |
| 3:53:00 - 4:04:00 | Can see her fist clench when she is asking questions about script | Body Language |
| 4:44:00 - 5:12:00 | 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 |
| 5:13:00 - 5:19:00 | "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 |
| 5:32:00 - 5:46:00 | Notable body language here, grabbing head while working through the character, pointing/reaching outward | Body Language |
| 5:50:00 - 5:51:00 | Hands motion matching the words overlapping | Body Language |
| 5:52:00 - 5:57:00 | Almost acting the scene out with the lines, turning when she mentions turning to the stove | Body Language |
| 6:08:00 - 6:47:00 | 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 |
| 7:00:00 - 7:27:00 | Historical research/context applied to characterization | Theory and Technique |
| 7:57:00 - 8:05:00 | Really long pause here, moving mouth to think through | Body Language |
| 8:05:00 - 8:16:00 | The "truth" used here, applied to script | Theory and Technique |
| 8:32:00 - 8:40:00 | Looking out and addressing the classroom very directly and very still, revelatory statement about Nora | Theory and Technique |
| 8:40:00 - 8:54:00 | Another very long pause, looking up this time, moving mouth again, places hand over mouth | Body Language |
| 8:55:00 - 9:08:00 | Very dramatic/emotional, very revelatory, hugging self, works through the climax of the scene of the two characters meeting | Body Language |
| 9:10:00 - 9:13:00 | 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 |
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