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GoldCanyonLady
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bullet Topic: Actors and their lines
    Posted: 10/24/05 at 10:42am
I have an actor in our new play who has already learned his lines three months ahead of time (the cast was given their books before summer vacation).  He memorized them by learning the last word of the cue line. He is lost if the cue isn't exactly as written. Is there an exercise that I can have him do so he will be able to listen to what is being said rather than looking for the word.

Barb
Barb Hofmeister,
MountainBrook Village Players, Gold Canyon, Arizona.
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bullet Posted: 10/24/05 at 11:38am
While learning just the last word of the cue is unusual, I don't think that not learning the cue is unusual.  I often have actors who have learned their lines - just not when to say them.  I think it will correct itself - particularly if you have three months. 

I tell my new actors that they will have to memorize their lines three times:  Once off the page, once on the stage and the third time when they find they are having a real discussion with someone else using the playrights words.  Each step starts out with the actors feeling like they can not remember a single word they have worked so hard to memorize. 

The third step is the most difficult to achieve.  "Trust the work and say the words" is my rule for this step.  Forget all the words you have memorized, forget all the blocking you have been given, forget all the emotional work you have developed for your character.  Look at your scene partner, let them in and say the words that come into your mind.  Listen to your partner respond then say what comes next.  If you have done the work, are in the moment and listen to your scene partner, the words will be there. 

Actors (particularly new ones)  sit there and try to remember their next line or the blocking.  You need to get them away from that and let the words just flow.  I will say it again and again:  Trust the work, the words will be there, the blocking will be there and the emotional content will be there.  The problem is that this takes time.  That is one of the reasons we get out actors off book so soon.  The transition from step one to step two and step two to step three take time.  It is frustrating for all involved but it will work. 

If you are worried about this actor and not about the rest, I would just sit the actors down a half hour before rehearsal and go over the lines again and again till your problem actor gets used to hearing the full cues and can respond.   Just a few pages a day should get you there.
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bullet Posted: 10/25/05 at 4:58pm

Well, you want your actors "acting" while they are not speaking, so they need to understand and respond to what is being said between their own lines.  Have him work on that. 

Also, I had the honor of a professional actress work with my cast yesterday.  She was awesome.  And the cast actually listened to her say the same things I've been saying--and more!  She did let me know that if someone is not off-book by deadline, they sit on the sidelines and their understudy replaces them until they can prove they can do a better job.  If there is no understudy, promote someone from stage manager, etc.

It seems to motivate the least professional professional--if you know what I mean. 

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falstaff29
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bullet Posted: 10/26/05 at 12:13am

Certainly there are different levels of approaching this, from threat of punishment to much higher levels.  It really depends on your actor.  Does he seem to be content in his (lack of) knowledge of his lines?  If so, then you need to really work with him- do some sort of exercise to get him to get really off-book.

I had a director once who began rehearsals by running through the lines of the scene before we did it.  If anyone screwed up, he had everyone go back from a cue line he'd give- at the top of that page.  It got especially annoying when someone'd screw up the last line on a page.  The anger that we felt towards whomever that was gave them the impetus to have their lines down cold by the next rehearsal.  (By the end of rehearsals, we wanted to kill the director, too, though, so maybe not the best idea.)

Maybe you don't have to do that sort of thing with this guy.  I think most actors have his problem at some point- we know our lines, and something of when to come in, but we don't quite know the lines that aren't ours yet.  Some people get over it just by exposure during rehearsal; some need a little more motivation.

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PatrickArmagh
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bullet Posted: 10/26/05 at 2:26am

Rule #1.  Plays are to be presented as written. I know that often words have to be changed for comunity standards presentatation, but as a general rule, the dialogue is written that way for a reason.

Rule #2.  Few people ever follow rule number one, although read the fine print from the publisher, and you will generally see commentary regarding Rule #1.

Your actor actor did a positive thing.  He came into rehearsals prepared with his script memorized, but maybe no character developed.  It you are allowing actors to be on book, then there should be no problem, but if all actors are off book, the correct their line reading to be accurate.  This is what most SM's or ADs should be doing at notes anyway.

Easiest way to correct the problem is to have your actor score his script with Lines, Subtext, Intentions, and Actions.  This may help with his responses to incorrect cues.

Second, tell him the horror story about the actor that went up on lines during a performance and looked like a deer in headlights until another  actor saved the day and got the show back on track.  Everyone has this story or something like it in their history.

Finally explain that Acting is REACTING and if you don't listen to what people are really saying, then how can you react appropriately.

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GoldCanyonLady
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bullet Posted: 10/27/05 at 9:42am
Thanks for all your help. Falstaff29 must have mis read my question. This actor knows his lines word for word just as written in the script. But it is just rote, I need to get him to REACT. That was great help. I will work with him on listening. He is the only one off book as we are just starting rehearsals tomorrow.

We are in a senior community and have limited availability to the stage so our 30 rehearsals are over a 3-1/2 month period. This actor has been in our other two plays and did the same thing with both. And you are right Patrick, there was a spot in another play when someone didn't remember their lines and this guy didn't save the day when he should have. I don't want this to happen this time.

Barb
Barb Hofmeister,
MountainBrook Village Players, Gold Canyon, Arizona.
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bullet Posted: 10/28/05 at 10:25am

Two listening exercises I sometimes use:

1) Have the actors do the scene using words OTHER THAN those in the script.  Play the same actions, the same intentions, but with different words.  It forces them to listen because they don't hear the same words over and over.

2) Get a beach ball or a Nerf ball or something and put them in a circle.  Give the ball to one of them and have the actor with the ball start telling a story.  At any time, that actor tosses the ball to another, who has to keep the story going.

Good luck!

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falstaff29
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bullet Posted: 10/30/05 at 5:36pm

Originally posted by GoldCanyonLady

Falstaff29 must have mis read my question. This actor knows his lines word for word just as written in the script. But it is just rote, I need to get him to REACT. That was great help. I will work with him on listening. He is the only one off book as we are just starting rehearsals tomorrow.

I mistakenly thought everyone was off-book, since why would cues be getting messed up if people are still reading from scripts?  The anecdote was on the issue of getting the other actors to get their lines right (so the problem actor would have correct cues), and also as a way of learning the lines by excessive repetition.  Not necessarily a recommended method, just an anecdote.

I realize the anecdote was a bit of a non sequitur- the connection with your problem was in my mind, but not my post.  And, now that you responded to my post, I realize I somewhat missed the point of your dilemma.  Sorry.  :)

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bullet Posted: 11/02/05 at 9:11pm
How fortunate to have someone so prepared by learning all of their lines.  This is one of the reasons I don't like to dole out scripts until a few weeks before we begin rehearsals.  It has been my experience this is the best way to keep actors from developing bad habits like misreading or transposing lines or , worse yet, welding them to an interpretation you may not agree with.  Your actor needs to engage in more active listening to the other actors on stage.  This means putting on his "big" ears and working hard to pull their lines out of their mouths with his ears.  It may also help to have him key on phrases or word patterns in the cue lines.  Do his lines repeat words from the previous lines?  Can he use mnemonics, anagrams, and the like to make the link between cue and line.  Good luck.
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