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Et's suppose you went to a friend's house and knocked on the door. No one answered. You rang the door"ell, twice. No answer. Then you remem"er that your friend had "een feeling ill, so you start to get a little worried" #n this e$ample, every time you got %no answer,& you changed to a different action.
Et's suppose you went to a friend's house and knocked on the door. No one answered. You rang the door"ell, twice. No answer. Then you remem"er that your friend had "een feeling ill, so you start to get a little worried" #n this e$ample, every time you got %no answer,& you changed to a different action.
Et's suppose you went to a friend's house and knocked on the door. No one answered. You rang the door"ell, twice. No answer. Then you remem"er that your friend had "een feeling ill, so you start to get a little worried" #n this e$ample, every time you got %no answer,& you changed to a different action.
Instructions: Make notes on the most current copy of your Action Score to indicate the changes that are prompting each new action. The decision to move to a new action can come from a variety of sources, including the accompaniment, your scene partners reactions, the song structure, a win or loss toward your want, and so on. Heres an illustration of how changes work. ets suppose that you went to a friends house and knocked on the door. No one answers. !our friend is usually home at this time, so after a minute, you ring the door"ell, twice. No answer. Then you remem"er that your friend had "een feeling ill, so you start to get a little worried. !ou use a cell phone to call the house. No answer. #n this e$ample, every time you got %no answer,& you changed to a different action 'knock, ring, call(. )ach %no answer,& your concerns, and your desire to find your friend are what led you to keep trying.