DISCOVERING, DEVELOPING AND SHARING

your

CHARACTER

DISCOVERING

WHO

Discover age, proffession, (or lack of) values, class etc

WHEN

(People react differently at different times)

Discover the time, year, era (most people will talk differently of Hitler Post WWII than pre-WWII)

WHERE

People react differently in different settings (most people don't sing out loud to them self in a library)

MOTIVATION (wants, objectives)

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DEVELOPING

The character is not you, it's not what I would do but the character, always remembering your character's profile YET you are the character you bring in emotional reference points!!...THATS the balancig act!!

EMOTIONAL REFERENCE POINTS / Personal & Social

If your charachter is angry draw from a time when you were angry. If your character is mad because someone stole their car, but that has never happened to you, get personal and think of how you would feel if someone did.

or get social if you've known of somebody whose car was stolen and you remember how they reacted, draw from that..

RECOGNIZE SUBTEXT

The line "What time is it?" would be rendered differently by a prisoner on death row than someone at a boring game.

DISCOVERD LEVELS

Background and experiences that took place in the characters past all contribute to who they are.

RISK'S

Again it's not you so take risks in character development and rehersal ( but not performance, you dont' want to throw you partner, there will be enough throwing if lines are droped...another reason to always know your motivation at any given point.This will help you improvise )

INDICATING

Get past this in rehersal. Indicating is turning to a stereotypical emotinal reaction for example lets say fear (Yikes!!) It comes from not staying invested & not listening and reacting...which leads us to sharing your character!

LISTENING AND REACTING

That's the stuff of acting (and of life, you don't know how to react to what someone say's un-less you're truly listening to them ) but when on stage you listen and react, fully invested as your character...that's sharing.

.

INVESTMENT

Is to not dwell on the past or worry about the future, but trust your rehersal and memorizaion will put you there.

( King David said "Your word I have hid in my heart" and so should the actor when it comes to the words of the script. ) That's living in the moment and sharing with the audience. If your thinking about a line you dropped or a line you might drop your no longer invested and you've stopped sharing

EMOTIONS DETERMINE MOVMENT

Every movment (or lack of) has an emotion behind it

ATISIPATION

When sharing, don't let the audience know what's coming. React as if this is the first time yor character was experiencing that moment, let your audience discover for the first itme too.

(life is a seies of moments and your life on stage is the same)

INDICATING

Indicating is turning to a stereotypical emotional reaction for example lets say fear (Yikes!!) It comes from not staying invested, antisipating & not listening and reacting.

I think you'll discover (L&R) "Listening & Reacting will so to say cover, a multitude of sins. It will keep you from ANTISIPATING & INDICATING. I't will keep you INVESTED in the moment, re-deaming the time wisley and discovering EMOTIONS THAT DETERMINE MOVMENT...which leads us to Blocking

1 Staging

Place any tables, chairs etc as need for the piece. Place them to best share with your audience.

( Reconize movment caused by emotion to help determine blocking )

2 Props

Deteremine and gather stationary and / or mobile props for buisness ( activity within the blocking )

Begin to use props ASAP, even while your on book...it will sereve as an incentive get of book...which leads us to memorization

MEMORIZATION

PERSONAL

One sentence at a time. Once you have it move to the next, re-capping previous and keep building. Before you know it you have a page done

PARTNER

Apply above, taking turns, moving chronologicaly through the script then cue each other.

RUNNING LINES

If you don't have some one to run your lines for you, record a cue tape. Record all cue lines out loud and yours silently (articulating for timing) Then play back and fill in the blanks.

Note: The last third of rehersal should be off book.

(Knowing your character profile & motivivation should empower you if you need to improv)

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EXCERCISE

Ad -lib your scene to help you understand it in case you need to improvise.

...diolouge is a faith relationship!!

"Faith is the evidence of this not seen" (circa ) The Ancient Greek Trgedies

DON'T WALK ON OTHERS LINES (L&R)PROJET AND ANUNSIATE (even on a mumble or whisper, adjusting to the house...your talking to the people in the last row)

HOLD FOR LAFF (Don't wait, but if it starts let it die to the point you can continue and be heard)

PICK UP YOUR CUES (L&R)

...And take your vitamin C!!_____________________________________________________________________________________

Acting refelcts life so don't be surprized when these principles of acting can be applied in our relationships and life off stage. We plan but life throws a curve at which point we need to stay invested and improvise.

"All the world's a stage" WILLIAM SHAKESPEARE

_______________________________________

Steev Hook

541-247-628

hookvoice@yahoo.com

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November 5th 6:30 pm in the Blue Room on the lower level of the Court house annex on Moore st. just east of Ellenburg ave. For more info PH 247- 0628 or EM hookvoice @yahoo.com