SCENE STUDY GUIDELINES

A Handbook for Theater 2668 ACTING I Fundamentals of Acting

Revised Fall, 2007

INTRODUCTION
Scene Study is an important aspect of actor training. It provides an opportunity for the student actor to apply theories and techniques to a performance situation. The material in this document is designed to assist beginning students in completing their scene study assignments. Acting exercises, as presented in class and the text, are designed to develop individual aspects of the actors technique. Scene Study is viewed as an avenue in which to explore the possibilities for the application of this newly gained technique. In Theater 2668, Fundamentals of Acting, you will be required to complete several scene study assignments. One assignment will involve playing a comic scene, another will be a serious scene, and a third will involve physical contact, either romantic or militant. You will also be required to prepare an audition monologue for performance. The final performance requirement of this course will be your participation in a public Acting Recital during which you will demonstrate your growth and abilities as a performer. Your recital participation may include a re-working of material from your earlier scene study assignments or entirely new material. Participation in a University Theater production may be substituted for some of this performance classroom work at the discretion of the instructor. The material resources listed for each scene study assignment are merely suggested scenes; you may choose other material that appeals to you. It is suggested, however, that you clear your chosen material, whether taken from the enclosed lists or not, with the instructor prior to beginning work. It is assumed that you will read the entire play in each case in order to better complete the written analysis for each scene. You are encouraged to use scene study and audition books to locate appropriate scenes, but you should then read the entire play from which that scene was taken for better understanding of the material. All work in an acting class, especially acting exercises and scene study, should be viewed as laboratory work where risks are taken in order to make discoveries that will foster artistic growth. You are encouraged to take chances, risk embarrassment, and experiment with new approaches and ideas. Remember, nothing ventured, nothing gained. If you have any questions concerning scene study, potential material, techniques for preparation, or any other aspect of this course, please feel free to contact the instructor. It is hoped that your acting experience will be both fun and enriching. "Know your lines and don't bump into the furniture." --Spencer Tracy

GENERAL PRINCIPLES As Actors, We Seek To: BE PROFESSIONAL in attitude, approach, and dedication. Intellectual, creative, or psychic energies, time, and talent are to be treasured, not wasted. Parochialism, prejudice, and divisiveness are meaningless and in fact incompatible with the nature and spirit of collaborative theater art. WORK HARD at whatever we do. We will do our share, do it well, and do it willingly because our academic and artistic integrity and sense of self worth depend on it. We know that we are engaged in work that is essential to us as individuals and our culture as a whole. We take as much pride in the process as we do in the product. BRING ORGANIZATION, PREPARATION, AND CONCENTRATION to the process in such a way that they will nurture professional and personal growth. Efficient time management fosters effective creative work. Wasted time results in wasted talent. BE OPEN, HONEST, AND POSITIVE with all involved in the collaborative process of making theater. Remembering that all collaborators are on the same side, we will maintain open communication in order to focus on the quality of the work itself. DEVELOP A SENSE OF HUMOR. It is imperative that we be able to laugh at ourselves. If we take ourselves too seriously, others will be afraid to approach, to speak truthfully, to disagree. This openness is essential for effective collaboration in the making of theater. REHEARSAL & ACTING-LABORATORY SAFETY GUIDELINES Effective actor training requires students to be intimately engaged in emotional and physical terms, as well as intellectual ones. There is a delicate balance between producing challenging art and keeping students emotionally and physically safe. IN ALL CASES, HOWEVER, STUDENT SAFETY IS OF PARAMOUNT CONCERN. In order to allow for freedom of expression and open inquiry into the process of making theater, the acting laboratory must be free from any form of harassment or abuse. Teachers are charged to challenge students to grow personally and artistically, but should never be abusive nor tolerate any abuse among students. The use of physical touch is a routine teaching practice in acting, but its use proceeds from the teaching objective at hand. The physical contact with a student in class is specific and restricted and involves no element of coercion. The purpose of all such physical contact should be clearly explained and the student is asked for consent for the touching in a noncoercive manner and has the right to refuse without reprisal. Anytime a student feels threatened, endangered, or uncomfortable when working in an acting laboratory exercise, that student is strongly encouraged to terminate the work immediately and bring the concern to the teachers attention. Student safety and well-being is always the primary concern. There are no small parts, merely small actors. --Konstantin Stanislavski

GETTING THE RIGHT MENTAL ATTITUDE FOR CREATIVE ACTING

Fundamentals of acting is basically a creative performance course. As a student seeking to foster creative work within a performance context, you are looking forward to opportunities to stretch your wings as a creative actor. Therefore, the ability to open yourself to free and creative work may be the most important tool or skill you can develop as an actor. From another perspective, this class is a Amethods@ class. We will investigate various acting theories, skills, and techniques, etc. by working with individual and group exercises and applying them to Aperformance@ situations through the use of self-directed scene study. Therefore, this course is not only an "information gathering" course, but it is largely a performance course. You will be performing dramatic scenes in a variety of formats. The scene study will involve performing both serious and comic scenes. Our goal is to gain experience in performing in public while you expand your creative powers. Therefore, we need to deal directly with such things as "performance anxiety" or stage fright. We need to place these activities in a proper context. We need to develop the "Right Mental Attitude." Points to consider: Acting is a natural activity that can be improved. Remember, creativity is an attribute with which all of us have been blessed. Small children have little difficulty expressing their creative selves until Aknowledgeable and influential adults@ teach them avoid creative thinking in order to conform to societal 3. Take the "halo" off the creative actor. The actor is not a super-person. The art of acting is based on a natural act -- the act of imitation. 4. This class is a laboratory, a practice station. Don't hesitate to try the unusual, the unorthodox, even the daring--if you think it will bring aid and improvement to you. Reach for the moon B it can be a heavenly experience. 5. Bring your best sense of humor. "Crepe hanging" is taboo. If anything can go wrong, it will--so be ready to laugh at yourself. Remain pleasant and cheerful. 6. Practice being observant of the world around you. Actors reflect life. 7. Bear in mind that the performances in this class will be very well done. We will witness some excellent acting. We are looking forward to significant growth in performance and expressive skills. You will surprise yourselves with your progress and accomplishments. 8. Remember that everyone has the talent, experience, stamp of personality, intelligence, etc. to play some roles (characters)better than anyone else in the world. Learn to use your own personality traits to help Aflesh out@ the characters you play. This is what makes dramatic acting interesting. 9. Remember that character traits (feelings) are not Agood@ or bad,@ they simply ARE. The Creator created all sorts of personalities and the Creator does not create Ajunk.@ we all experience feelings of anger, fear, lust, jealousy, love, etc. It is only when we act on these feelings in a way that is harmful to others or society that we should condemn our behavior. Good actors feel free to use their feelings to portray a wide variety of character types. 10. Above all, feel free to learn and grow. Select what you want to do and then simply Ado it.@ AShoot for the moon. Even if you miss you will land among the stars.@ BLes Brown 1. 2.

THE ACTORS= SACRED CIRCLE*

Creative acting involves the soul, not the intellect. When dealing with people=s visions, we are in the realm of the sacred. We are involved with forces and energies much larger than our own. Actors are engaged in a mysterious sacred activity. In Plato=s terms, we know the shadow, but not the shape. Therefore, any gathering of actors involves the spirit of a sacred trust. When we seek to tap our own creativity, we invoke the Great Creator and that creative force has the power to alter lives, fulfill destinies, and answer dreams. As actors, we belong to a holy tribe. We are carriers of the ancient truth that spirit moves through all of us. Since acting is a collaborative art, we are dealing not only with our human personalities, but also with the throng of ideas, visions, words, stories, and characters that inhabit the temple of consciousness awaiting birth. Our task is to midwife dreams for one another. We must support the work that each of us must undertake to birth his or her art and foster it to maturity. Therefore, the Sacred Circle must exist in the rehearsal hall and performance space. This protective ring enlivens us to achieve at the highest level. Within the Sacred Circle we affirm principles to be above personalities as we invite a spirit of service to the highest good and a faith in the realization of our own artistic achievements in the midst of our fellow actors. Envy, backbiting, mean-spirited criticism, hostility, and vicious sarcasm have no place within this circle. Success in acting, as a collaborative art, occurs in clusters. Drawing a Sacred Circle creates a sphere of safety and a space wherein we attract and nurture the creative gifts of our fellow actors. The Sacred Circle is built on respect and trust. It serves as a garden where each plant has its name and place and there is no one individual flower that cancels the need for another and each bloom has its unique and irreplaceable beauty. Let our gardening hands be gentle ones. Let us not root up another=s ideas before they have time to bloom. Let us endure the natural process of growth, dormancy, regeneration, and the ebb and flow of fruition. Be not hasty to judge nor reckless in our urgency to force unnatural growth. Maintain space for the fledgling actorartist to try, to falter, to fail, and to try again. Remember that in nature=s world every loss has meaning. Turned to good use, a creative failure may be to compost that nourishes the next season=s creative success. We are in this for the long haul, the ripening and harvest, not the quick fix. Acting is a lifelong, developmental process of growth and change. Creative acting involves the soul: ours is a spiritual community. Sacred Circle Rules: 1. Creativity flourishes in a place of safety and acceptance. 2. Creativity grows among friends, withers among enemies. 3. All creative ideas are children who deserve our protection. 4. All creative success requires creative failure. 5. Fulfilling our creativity is a sacred trust. 6. Violating someone=s creativity violates a sacred trust. 7. Creative feedback must support the creative child. 8. Creative feedback must build on strengths and never focus on weaknesses. 9. Success occurs in clusters and is born in generosity. 10. The good of another can never block our own. *Adapted from ATrail Mix@ in THE ARTIST=S WAY by Julia Cameron, 1992

ANALYZING AN ACTING PERFORMANCE Johann Wolfgang von Goethe instructs us to evaluate works of art by asking three questions: AWhat is the artist trying to do?@ AHow well was it done?@ and AWas it worth doing?@ In order to effectively answer Goethe's second question, you must have a specific yardstick for measurement. The following ideas may serve as basic criteria for evaluating an actor's performance: A. Belief: Was the character convincing/believable? How was this accomplished? Was the character true to the play, the production, and the conditions? Cite specific examples. Was the acting spontaneous (illusion of the first time)? Voice: Were voice qualities, interpretation, and projection suitable for the character? Were proper tempos and rhythms achieved in line delivery and cue pickup? Were vocal qualities properly modulated in singing and speaking so that the character remained consistent (e.g., was the character "casual" when speaking and "operatic" when singing and therefore created two different characterizations where there perhaps should have been only one)? Body: Were gestures, movements, and business motivated, clear, varied, and appropriate? Cite specific examples. Was proper stage technique incorporated with ease? Were the dances, physical stunts, stage combat routines, etc. performed with precision, grace, and appropriately apparent ease? Emotions: Was there a proper balance between emotion and control? Were reactions true and believable? Cite examples. Was mood sustained? Were emotional climaxes achieved? Where? How? Relationships: Were the proper relationships established among characters" Was there proper team work? Ensemble playing? Projection: Did the character project orally and visually to the audience? Was communication accomplished with economy, clarity, control, and conviction? Characterization: Was the character consistent (i.e., always "in character"?)? Did the character possess proper variety and contrast? Overall Impact: To what extent did the performance involve you in the action and thereby encourage you to forget all of these criteria and simply enjoy the performance?

B.

C.

D.

E. F.

G. H.

SUGGESTION: Don't try to cover too much in your analysis. Select one actor and analyze in greater detail. Similarly, you may select a few of the above criteria to emphasize in your analysis because they apply more significantly to the performance under consideration. Look for examples of the application of techniques we have worked with in class. You may comment on how effective these techniques were or you may suggest how the application of any of these techniques could improve the performance. "Have a good reason for everything you do." --Laurence Olivier

STAGE GEOGRAPHY
(WHERE YOU ARE ON THE STAGE)
Stage geography refers to areas or locations on the stage and the terminology that relates to how movement and position affect the actor. Demonstrate some of the basic "stage geographic" terminology: Onstage, Offstage, Backstage, Apron, Proscenium Upstage, Downstage, Above, Below, Stage Right, Stage Left Area, Plane, Level Open, Closed Cross (curved, to share a plane & add interest) Counter, Dress, Share, Give, Take Movement, Business, Property, Costume Actors need to establish a WHO (character), a WHAT (an activity or situation), a WHY (a character intention or purpose), and a WHERE (a setting). This exercise emphasizes the creation of a believable WHERE. Relate to environment. One of the tasks for an actor is to determine the physical setting of the scene WHERE does the activity take place. A related task is to work in the setting in a manner that will express what the setting is and how the character relates to the setting. How do you know where you are? Is it true that you always know where you are? If you are in an unfamiliar place, how do you know it's unfamiliar? How do you know where you are at any moment of the day? For example: How do you know when you are in the kitchen? If every room in your house were moved, would you still know which room was the kitchen? How? Are there specific things in the room that tell you it is your kitchen? Would you recognize a kitchen if it had no stove or refrigerator in it? If it were in the jungle, for instance, would you identify it as a kitchen if it would be a place where food is prepared? CONCLUSION: We know where we are by the physical objects around us. Next task: How can you show us "where you are"? How do you relate to/with the things in the "where"? How do you use the objects? CONCLUSION: An actor must be able to establish a relationship with a WHERE by relating physically with the objects or things in the "where." Note, there is a difference between an office and a den, between a city park and a garden. How can you show this? The most important thing in acting is honesty. If you can fake that, you have it made. George Burns

HOW TO SELF-BLOCK A SCENE

"Arthur Hopkins, the producer and director, once said, 'The reason for walking is destination.' Let me add that the movement you create must come from carefully selected action which allows for the organic development of the character and the primary action of the scene." --Uta Hagen, RESPECT FOR ACTING CHOICE OF MATERIAL:
Choose a scene that allows you to use the techniques introduced in class and meets the needs of the assignment, i.e., comedy, serious, contact, etc. Choose a scene that is balanced between characters. You may use scene study anthologiesas a guide, but be sure to read the entire play from which the scene is taken. INDIVIDUAL INITIAL WORK (READING): Read the play several times: first for overall impact and effect; second for basic character elements; third for basic scenic/environmental elements; fourth for basic character relationships; fifth for overall "ensemble shape." Next, read the scene carefully. Ask yourself some basic questions: 1) What is the relationship of the scene to the play? What type of scene is it (exposition, first meeting, climax)? 2) What happens in the scene? What is the plot, the content, the action? What do the characters do? 3) What are the elements in the scene (character and environmental) that influence the movement? 4) What is the purpose of the scene? What should the audience find out, above and below the surface (text and sub-text)?

INDIVIDUAL CHARACTER ANALYSIS: Analyze the "given circumstances." Look first at the given circumstances of the physical environment in terms of your own character. Begin with only basic scenic elements or props (eliminate as many scenic elements as you can for the class project). Draw a tentative "floor plan" of the acting area or setting. Then look at your character's given circumstances. Describe your character physically, psychologically, intellectually, emotionally, and socially. How does your character make decisions, react to other characters and situations, etc.? "Flesh out" additional given circumstances that will assist you in making character decisions and design movement. Be sure these additional circumstances are consistent with the rest of the play. Determine the five "W's": Who, What, Where, When, and Why.

State your character's major intention, i.e., what does your character want to do? Begin by saying, "I must . . ." or "I want to . . ." and complete with an active verb. This statement must incite you to action! Divide the scene into basic motivational units or action sequences. Title each unit. Sub-divide each unit into 3 parts (beginning, middle, end), each with a motivational title. Then construct a score of physical actions that is logical, character-consistent, and appropriate to the character and scene. For ideas for actions, apply Stanislavski's "Magic If." Be sure to ask "What would I do IF I were this character in this situation?" 7

TEAM WORK: With your acting partner, devise the basic movement pattern or blocking. Follow these basic steps when working together: 1) Share and discuss your individual work listed above. 2) Mutually determine the basic purpose of the scene and the overall quality of the movement. 3) Mutually block the scene: a) OBLIGATORY BLOCKING - What the scene demands be done, e.g., entering, exiting, answering a phone, etc. Begin with action that is essential to the scene. b) AREA BLOCKING - Mutually select "acting areas" to be used for specific action units. Decide how and when you will get from one area to another. c) BASIC BLOCKING PATTERNS - These patterns should communicate basic ideas about the scene. Example: In a love scene, the characters could begin being rather far apart and then get closer together as the scene progresses. Some suggestions for determining basic blocking patterns: -1- Have characters express their relationships to each other by proximity and directional line (facing toward or away from each other). -2- Block the climactic action unit first, then let the other moments organize themselves around it. -3- You may want to determine the starting and ending positions and then fill in between. d) DETAILED BLOCKING - Add in your individualized score of physical actions. Decide what details, small movements and business that will add to the scene, characterization, or the character relationships. What "filling out" can be done to make the scene more believable, more honest, more revealing? GENERAL SUGGESTIONS: Resist the temptation to devise your blocking chronologically, line by line. This may result in poorly organized movement that may get worse as the scene progresses to the climactic moment. Follow the schedule suggested above. Try new and refreshing ways to do things. Be creative. Try not to overlook the obvious. Remember, there's nothing clich unless you do it in a clich or dishonest way. Plan on approximately 30 minutes of rehearsal time to block one minute of performance time. If you do your individual work well, you should be able to block (not rehearse) a 3-minute scene in about an hour and a half. Plan an additional 90 minutes to refine and run the scene; additional time to polish will depend upon how serious you are about improving your work. Try to have a number of short rehearsals, rather than one long rehearsal. You'll get better results if you do. Long rehearsals may catch you in the "law of diminishing returns" because you may be too tired to work creatively, efficiently, and well. A 90-minute rehearsal time period is plenty for most acting students -- longer sessions are usually less productive. ABOVE ALL, BRING A GOOD SENSE OF HUMOR TO YOUR REHEARSALS AND 8

HAVE FUN AS YOU EXPLORE THE POSSIBILITIES IN THE SCENE!!

ACTING: An External Approach

Since Acting is the art of creating, through ACTION, the ILLUSION of naturalness and reality that is believable within the context of the play and is consistent with the nature of the character being portrayed as conceived by the playwright, one way to begin your approach to creating a role is to work externally to create appropriate actions for your character to execute. In this approach, acting is viewed as not merely make-believe or believing that you, as an actor, are the character, but rather ACTING IS DOING. In other words, an actor should be engaged in an activity appropriate to what the character would do in a particular situation. The actor's problem, then, is to create the illusion of a character in action that is fully believable and capable of moving the audience emotionally. One way to approach developing a role externally is to develop a Ascore of physical actions@ that is appropriate to the character being portrayed. After answering the five W=s, you could list all of the physical actions that your character COULD perform in this given situation. Once these actions have been selected, simply executing them is a way in which you could begin your work on developing this character. This approach is predicated on two basic principles: first, the actions can portray to the audience what the character is thinking, feeling, attempting to do, etc. because they will recognize actions that often accompany those intentions, emotions, etc. and secondly, relying on the JamesLange psychological theory, the mere act of executing the physical manifestations of an emotion will induce or intensify the feeling of that emotion in the actor. Developing a score of physical actions is one way an actor can approach the problem of preparing for the first blocking rehearsals of a play. This preparation would provide a basis from which you as an actor (along with your director and fellow cast members) can begin to develop the physical shape of a character and scene. Your task in this preliminary blocking rehearsal would then become one of listening to the director=s ideas regarding the movement, blocking, and character, and then applying elements of your score of physical actions where appropriate. Below is a simple exercise in creating a score of physical actions: Select one of the following situations taken from written plays for the stage and design a score of physical actions. Use these Agiven circumstances@ as a basis for these actions. Answer the basic questions of AWho,@ AWhat,@ AWhere,@ AWhen,@ and AWhy,@ as you develop this score of actions. Feel free to add any additional Agiven circumstances@ as long as they do not conflict with those already provided. Use this situation Ato tell a story@ that communicates a meaning (mood, character, etc.) to your audience. This story should have a beginning, a middle and an end. Give your Astory@ a title that you think describes what your character is attempting to do; then give each section (beginning, middle and end) a title of its own that will spur you to execute this score of physical actions. Each section should have several (2-3 to 8-10) specific actions. The entire score of physical actions should contain a minimum of 10 actions and a maximum of 20 actions). Rehearse performing these actions. Bring your written (typed) score of physical actions to class and be prepared to perform them for the class.

Score of Physical Actions Scenes 1. In Arthur Miller=s drama The Crucible, John Proctor, a Puritan farmer of Salem, Massachusetts. The scene is set in the common room of his house and the room is empty. John enters carrying his shotgun. It is evening and he is exhausted from having planted crops since daybreak. Although he is basically a good man, he has been having an affair with a hired girl and his relationship with his wife is strained. She is in an adjoining room singing softly to their children. He puts down his shotgun, goes to the fireplace, swings the pot out, lifts the ladle to taste, is not pleased so he adds some salt. He then goes to wash his hands and face and then goes to the table to sit down. His wife enters. John watches her as she fills a bowl from the pot, and places it before him. John begins to eat. The time is Spring, 1692. 2. In Tennessee Williams= play Cat on a Hot Tin Roof, Maggie charges into her bedroom from the supper table to determine the extent of the damage caused by a hot buttered biscuit that one of her nephews has thrown at her. It is a very sultry summer evening in the American South. She open the curtains in order to inspect the damage more closely. She decides to change her dress. 3. In Of Mice and Men by John Steinbeck, Lennie, a very large, strong, but childlike farmhand with a severe mental handicap, sneaks a week-old puppy away from its mother to play with, even though he has been warned that it is too young to be handled. He accidently kills the puppy and attempts to hide his transgression by hiding it in a pile of straw. Although this scene actually occurs off stage, before the curtain rises for Act III, it could be of benefit for the actor playing Lennie to improvise the scene. 4. In Hedda Gabler by Henrik Ibsen, Hedda is a discontented woman spitefully jealous of a young author with whom she has had a relationship before her marriage. She finds the sole copy of the manuscript of his most important life=s work, tears it to pieces, and burns it. 5. In Crimes of the Heart by Beth Henley, 30-year-old Lenny MaGrath comes into her kitchen carrying a brown paper bag. Saddened because everyone has forgot her birthday, she pulls a package of candles from the bag, retrieves a cookie from the cookie jar, takes a candle from the package, tries to stick it on the cookies, and finally sings AHappy Birthday@ to herself. Be sure to sing the song in this one. 6. In On Golden Pond by Ernest Thompson, Norman Thayer, in his 60's, arrives at his summer cabin in Maine. Slowly and lovingly, he rediscovers the covered furniture, family photographs, and layout of the room. 7. In Side Man by Warren Leight, Clifford Glimmer is returning to the NYC Upper West Side Apartment where he grew up and Charley=s Melody Lounge where he spent much of his youth listening to his father, a side man trumpeter with the house jazz band, play. He is 29 and preparing to leave NYC for good to live a life far different from the troubled one of his dis-jointed family. He is visiting the Lounge, reflecting on his many memories of the bar, the bandstand, the booth favored by his father and fellow jazz players, as he prepares to return to his former apartment to visit his mother for the last time. 8. In Extremities by William Mastrosimone, Marjorie enters in a bathrobe. She surveys the breakfast dishes left on the table by her roommates (who have left for work) and sips a cup of tea. It=s cold. She puts on a kettle of water. She makes a phone call B no one answers. It=s a lazy morning. She notices a wilted plant and decides to water it. She then takes it outside to the porch. A wasp attacks her. She swipes at it, dropping the plant. She is stung by the wasp. ADamn it to hell!@ She enters the house, clamming the door. Examines her wasp-stung thigh. Gets wasp spray. Cautiously opens the door, looking for wasp. Discovers dead wasp on the porch floor. She sprays it. Moves wasp inside. Decides to smoke. Then burns wasp with cigarette. 9. In Desire Under the Elms by Eugene O=Neill, Eben Cabot checks to be sure that the money hidden by his skinflint father is still there. He finds it under the floorboards of the farmhouse kitchen, counts it, and returns it to its hiding place. 10. In The Glass Menagerie by Tennessee Williams, Laura Wingfield, an extremely shy girl, is entertaining a Agentleman-caller@ at dinner. Laura=s mother is anxious for her to impress the young man favorably. Suffering acutely from her shyness, Laura becomes sick at the table. She is forced to retire into the living room where she escapes into a dream world by playing with her collection of tiny glass animals.

11. In Summer and Smoke by Tennessee Williams, Alma is an intelligent, tensely sensitive girls who has 10

developed an abnormally reserved attitude toward young men. On an autumn evening she walks in the park realizing that her prudishness has been responsible for her losing a brilliant young doctor with whom she has been deeply in love for a long time. She drinks from the fountain and quiets her nerves by taking a relaxing pill. When an unknown young man appears, she decides to make up for her past mistakes by attempting to attract his attention. 12. In A Streetcar Named Desire by Tennessee Williams, Blanche Dubois, nervous and exhausted, comes to visit her sister in New Orleans. Finding no one home when she arrives, she lets herself in, explores the small apartment, searches for liquor, finds some whiskey, and takes a drink to quiet her nerves. 13. In Waiting for Godot by Samuel Beckett, Estragon is an Aeveryman@: simple, bored, hungry, and fatigued by waiting. As the play opens, he is sitting on a low mound, trying to remove his boot. He pulls at it with both hands, panting. He gives up, exhausted, then tried again. 14. In The Prisoner of Second Avenue by Neil Simon, Mel Edison is a Manhattan apartment-dweller who has recently lost his job, has had his apartment robbed, and is being kept awake by noise from a neighbor=s apartment. Unable to sleep, Mel emerges from his bedroom wearing a baseball glove on his left hand and carrying a baseball in his other hand. He keeps throwing the ball into the glove as he paces B grim, unshaven, and hostile B into the living room. He cannot escape the noise. He walks through all the available walking space like a [prisoner taking his daily exercise. He keeps throwing the ball into the glove with increasing intensity. Finally he throws the ball against the wall from which the noise appears to be coming; then he crosses to the kitchen to look for something to eat. 15. In Beyond Therapy by Christopher Durang, Prudence is sitting at a table in a restaurant, reading the New York Review of Books. She scouts the patrons for her blind date, who she knows only from a description from a APersonals@ ad. She spots a likely prospect, rises, and crosses to him. 16. In The House of Blue Leaves by John Guare, 18-year-old Ronnie, wearing a heavy army overcoat and fatigues, has gone AWOL from the army and is trying to get into his home without waking his father. From his position on the fire escape, he reaches through the bars of a gate in front of a window, gets his father=s trousers, takes a key from its pocket, unlocks the gate, comes into the room, re-locks the gate, replaces the trousers/key, tiptoes to the icebox, takes out a bottle of milk, and is interrupted by someone buzzing at the front door. 17. On a sultry summer evening, Maggie, in Cat on a Hot Tin Roof by Tennessee Williams, charges into her bedroom from the supper table to assess the damage one of her nephews has done with a hot, buttered roll to her pretty dress. She opens the curtains to gain light in the room and decides to change her dress. 18. In Coastal Disturbances by Tina Howe, it is August, and Leo, a lifeguard, gets ready for a day=s work by doing his stretching exercises standing in the sand by his lifeguard=s chair. Holly Dancer, a pretty young woman, enters. The pace of Leo=s exercises varies as he tries to attract her attention. 19. In Death and the Maiden by Ariel Dorfman, Paula Salas sneaks out to the terrace of her home, where she can overhear a conversation between her husband and a doctor named Roberto Miranda. Slipping as close as she can without being discovered, she recognizes the voice of the doctor as that of a person who previous reaped her while she had been held as a political prisoner. She resolves to not let the doctor get away and slips unnoticed back into her bedroom. 20. At the beginning of The Teahouse of the August Moon by John Patrick, Asian music can be heard in the background as house lights dim. The play is set at the end of World War II in the U.S.-occupied Okinawa. A pool of light picks up Sakini standing framed against a bamboo curtain. He is wearing a pair of tattered shorts and a native shirt. His shoes, the gift of an American G.I., are several sizes too large. His socks, also too large, hang in wrinkles over his ankles. He is an Okinawan who might be any age between 30 and 60. In repose his face betrays age, but the illusion is shattered quickly by his smile of childlike candor. With hands together in prayer-like supplication, he walks to the footlights and bows to the audience (L. R., & C) in solemn ritual. Straightening up, he examines the audience with curiosity. The music fades. Sakini begins to work his jaws vigorously and then says ATootie-fruiti!@ He takes the gum from his mouth, wraps it in a piece of paper, places it in a matchbox and puts it in a shirt pocket.

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COMEDY SCENES
"Don't be afraid to be outrageous; the critics will shoot you down anyway." --Laurence Olivier (to Anthony Hopkins) ONE MAN, ONE WOMAN: Christopher Durang, BEYOND THERAPY; I,1; Bruce, Prudence Christopher Durang, LAUGHING WILD; He, She Christopher Durang, ONE MINUTE PLAY, Polly, Dave Kanin Garson, BORN YESTERDAY; I (near end); Billie, Brock Leonard Gershe, BUTTERFLIES ARE FREE; Several Scenes; Don [blind], Jill Adolph Green and Betty Comden, ON THE 20th CENTURY; Bruce, Lili Joseph Kesselring, ARSENIC AND OLD LACE; I; Elaine, Mortimer Jan de Hartog, THE FOUR POSTER; any scene; Michael, Agnes Bill Manhoff, THE OWL AND THE PUSSYCAT; Several scenes John Patrick, TEAHOUSE OF THE AUGUST MOON; Sam Shepard, BURIED CHILD; Act II; Vince, Shelly Neil Simon, PRISONER OF SECOND AVENUE, Mel, Edna Neil Simon, BAREFOOT IN THE PARK; I & II,2; Paul, Corie Neil Simon, PLAZA SUITE; Several scenes Neil Simon, COME BLOW YOUR HORN; I; Alan, Connie Bernard Slade, SAME TIME, NEXT YEAR; any scene; George, Doris Bernard Slade, ROMANTIC COMEDY; II,2; Jason, Phoebe Murray Schisgal, THE TYPISTS; any scene; Paul, Sylvia James Thurber, THURBER CARNIVAL; II; Mr. Preble, Mrs. Preble James Thurber, THURBER CARNIVAL; I ("Macbeth Murder Mystery"); He, She Thornton Wilder, THE MATCHMAKER; Act I; Horace Vandergelder, Dolly Levi Thornton Wilder, THE SKIN OF OUR TEETH; II; TWO MEN: George Axelrod, SEVEN YEAR ITCH; II,1, Richard, Dr. Brubaker David Ives, ALL IN THE TIMING; (Several scenes -- Could use women) Neil Simon, THE ODD COUPLE, III or several scenes, Oscar, Felix Ted Tally, HOOTERS; I,1; Clint, Ricky Steve Tesich, DIVISION STREET; Yovan, Chris Thurber & Nugent, THE MALE ANIMAL; II,2; Michael, Tommy Thornton Wilder, THE MATCHMAKER; I (near end); Barnaby, Cornelius TWO WOMEN: Alan Ball, FIVE WOMEN WEARING THE SAME DRESS, Trisha, Georgeanne Christopher Durang, PHYLLIS AND XENOBIA, (Phyllis, Xenobia) Neil Simon, THE ODD COUPLE (Female Version); III & others, Florence, Olive Frank Marcus, THE KILLING OF SISTER GEORGE; II,2; June, Alice Ted Tally, HOOTERS; I,2; Cheryl, Ronda THREE CHARACTERS: Mary Chase, HARVEY; II,1; Veta Louise, Myrtle Mae, Judge Gaffney Margaret Dulaney, THE VIEW FROM HERE; Fern, Maple, Carla Joseph Kesselring, ARSENIC AND OLD LACE; Mortimer, Martha, Abby Theresa Rebeck, SUNDAY ON THE ROCKS; Gayle, Elly, Jen

CHARACTER ANALYSIS FORM (COMEDY) 12

(Use this as a rough draft guide and then submit the completed form from the Web Page) Performer's Name______________________Character's Name_________________________ Partner=s Name________________________Partner=s Character=s Name_________________ Play Title______________________________Author__________________________________ Character's Age_____Date of Action in Play________Social Class_______________________ Character's Physical Appearance___________________________________________________ Character's Vocal Characteristics___________________________________________________ Character's Major Intention________________________________________________________ How does Character Make Decisions?________________________________________________ How does Character fit into the action of the play?______________________________________ _________________________________________________________________________________ Describe scene in which Character is first introduced____________________________________ _________________________________________________________________________________ Describe why this scene is funny______________________________________________________ __________________________________________________________________________________ Describe "given circumstances" that precede the action of the play (scene)___________________ __________________________________________________________________________________ __________________________________________________________________________________ Describe Character's most important moment in the play (scene)___________________________ __________________________________________________________________________________ Describe the major conflict in which Character is involved________________________________ __________________________________________________________________________________ Add any additional comments that would help you understand the Character________________ __________________________________________________________________________________

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ACTING: An Internal Approach An actor who works solely in an external way with scores of actions, vocal techniques, etc. may run the risk of creating characters that are wooden, mechanical, and devoid of believable emotion. As actors, we must seek to become much more than mere puppets. We must seek to create believable and realistic characters that audiences will recognize. The characters we play should be recognizable as real people who have believably real emotions and feelings. One of the most important lessons American actors in the 1930s and 1940s learned from the Stanislavsky-inspired acting of the Moscow Art Theatre was the importance of creating a truthful inner life of a character that was psychologically valid and highly emotionally moving. Often it is this inner life of the character to which audiences can most readily relate. It is often through recognizing the truth of these human emotions in the characters in a play that will cause the audience to respond with laugher or tears. It is important to understand that in the art of acting, the ACTOR is his/her own instrument. Not only must we learn how to use our bodies to express characters through movement, dance, and voice, but we must also learn to use our minds, emotions, and even our souls if we are to be successful in creating believable and meaningful characters. Therefore, it is recommended that actors develop internal technique as well as external technique. When working internally, actors learn to use their own life experiences (Affective Memory) to help re-produce believable emotions on stage and apply them to playing a character intention to give their physical actions a sense of purpose. Below are listed outlines of two basic components of a viable internal technique: Affective Memory and Character Intention with the Inner Monologue.

Affective Memory or Memory of Emotions:

Memory of Emotion or Affective Memory relies on the concept that acting is based on actual life experiences. As actors we must use our own experiences as a source for re-creating and portraying believable emotions on the stage. It goes without saying that the more experiences we have had (and can recall), the more rich our arsenal of emotions that we can bring to bear on solving the acting problem: the believable portrayal of emotion in a dramatic context.. Therefore, older, mature actors tend to have more Aammunition@ than younger ones. However, by the time we reach the age of maturing adolescence, most of us have experienced the most basic emotions of fear, love, hate, jealousy, envy, etc. Additionally, most of can remember how we felt and behaved while experiencing these emotions. It then becomes our task to select the most appropriate emotional situation, build on it, and apply it to the dramatic situation at hand.

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The basic technique of using Affective Memory consists of the following steps: 1. The original experience. We are busy accumulating experiences our entire lives. Often childhood experiences, especially those we remember vividly, provide a rich source. Often, experiences that we have had years ago are easier to use because we can work with them more objectively. 2. Retain the experience. This involves our natural ability to remember, but this can be enhanced by living our lives in a more observant manner and even by recording our reactions to events and emotions we felt (journals are good). Record the specific physical details of the event to assist in remembering the event. What did we do or say? Did we become physically nauseous or ill? Did our hands become clammy or did our knees shake? The more specific details we can remember, the more valuable the remembered emotional experience is. 3. Select the experience. Actors should select experiences that relate as closely to the dramatic situation in which we are involved as possible, at least in all of the important ways. Look for events in your past that parallel those in the dramatic situation at hand. 4. Recall the experience. It is difficult to summon the emotion directly. Instead, focus your attention on recalling the physical details: elements of the setting (Was it dark? Were you alone? What pictures were on the wall? What time of day was it?); Specific personal details (How old were you? What were you wearing? Were you standing or seated?); Specific contextual elements (What happened immediately prior to the event? Were you interrupted by the event? What were you trying to do at the time?). Employ all of your senses when recalling the experience such as Smell (were there any odors present, e.g., flowers, foul smells, food smells, etc.?) Taste (specific foods or beverages involved in the situation, did you have Amorning mouth@?) Touch (recall the grass, floor, carpet under your feet, or the feel of the wind/rain against your skin, or any clamminess of your palms); Hearing (what specific sounds did you hear? Sirens? Clock ticking? Footsteps? Etc.); Sight What did you see (what did your surroundings look like?) 5. Use the experience within the given circumstances of the dramatic situation. Be sure your note how the experience relates directly to the dramatic situation in all of the important details. Concentrate on those parallels. Note also how the original situation differs from the dramatic situation so that you can avoid Aimproper@ behaviors. Remember Bobby Lewis example.

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Playing a Character Intention through an Inner Monologue:

One of the Stanislavski acting techniques designed to deepen the emotional and intellectual content of the sub-text from a character=s perspective is the INTERNAL MONOLOGUE. Basically, the Internal Monologue is defined as the mental/emotional conversation the character has during the scene. It is a vocalization of the character=s sub-text. The exercise is to have both actors play the scene, but one of the actors will vocalize the inner thoughts of the character he/she is playing, from the character=s point of view. The other actor simply begins to speak when he/she hears the cue to speak and will, in a sense, ignore the vocalized sub-text. Of course, the timing and rhythm of the scene will be drastically altered because we as human beings think thoughts much more rapidly than we can speak them aloud, but this exercise can help clarify for the actor what some of these Ainner monologue@ thoughts could be. Basic rules for the Inner Monologue: 1. Use first/second person narrative (rather than third person) in order to personalize the conflict. AI don=t understand you!@ AI think you are lying!@ AI didn=t know you loved me that much!@ etc. Rather than A He doesn=t understand her,@ AShe thinks that he is lying,@ AShe didn=t realize that he loved her that much.@ 2. Allow the inner monologue to lead you into your next piece of dialogue, even though it may take several seconds to do so. 3. Stress evaluating what your partner is trying to say or imply. 4. Acknowledge any barriers to accomplishing your goals and work against them. Working against such barriers increases the level and intensity of the conflict. 5. Allow the inner monologue to change with each playing of the scene. This will give you more options from which to choose when your finalize your acting choices. 6. Your inner monologue should be a dynamic reaction to what is occurring in the scene; therefore, as the stimuli change with each playing, so should your inner thoughts and monologues. 7. Use the inner monologue as part of the Adiscovery@ period of rehearsal. It best fits in after you know the lines and most of the blocking and are working to refine and deepen the characterizations. 8. After experimenting with the spoken inner monologue a few times, re-play the scene and consciously Athink@ the monologue and you attempt to re-gain the timing and cue pickups. Although comic scenes often seem to be effectively played with a great deal of external technique, especially in terms of physical farce, it often appears that the internal technique comes into play most clearly when playing serious scenes.

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Creating an Emotional Inner Life: Triggering Emotions on Demand

Although it is not necessary in every case for an actor to actually experience the emotion being portrayed on stage, it IS necessary to create the illusion of that emotion in the character. This is done through action (which can be accomplished primarily from an external approach) and through the creation of inner emotions and feelings (which, although approached internally, must still be held under control). To summon emotions on demand, the actor needs Aemotional triggers@ to activate the emotional response. This trigger is a way to emotionally trick yourself into being emotional by staying out of the way of emotion B not by demanding emotion, but by inviting it. You may discover your emotional triggers in three major ways: using affective memory; using imaginative imagery; and using the Aas if@ technique which combines affective memory with imagination by having you imagining something that has not happened to you, but could happen and allowing it to affect you in an emotional way. Any one of these techniques can provide you with the material you need to provide the emotional inner imagery you need to play a particular scene. Your job as an actor is to employ any or all of these techniques to build a reservoir of triggers to assist you in creating the emotional inner life of a character on stage. One exercise designed to provide such material is the AMemories of Home Exercise. Be sure to use this exercise with extreme care. If the memories become too painful, and they may, then stop the exercise until additional time will allow you to visit these memories more safely. But if you approach this exercise properly, you should be able to uncover specific memories that can later serve as triggers for your emotions that you can use in your character work.

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AMemories of Home@ Exercise* Sit in a chair, leave your eyes open or close them if it=s easier, and in your mind=s eye go back in your imagination to the house or apartment which you remember best from your childhood. Start by walking down the street of your childhood home. You=ll notice that you will see it at a specific time of day. This is fascinating. You never think of your house in some limbo time; it=s either in the morning light or in the afternoon or a dusk. It may be that the time of day is very emotional for most people. As you walk down the street in your mind=s eye, do a sense memory: the outside of the house looks like this; your feet on the pavement sound like this; the temperature feels like this (hot, cold, windy, damp); the air smells like lilacs (or smoke from fireplaces or smelting plants, or garbage can out on the street, rotting in the heat); you may hear the bell of an ice cream truck, or a siren from a fire engine or the sound of a subway or traffic from the area; you taste the salt from the sea breezes or the soot from a nearby factory or the sweetness in the air from apple trees with apples ready to pick. You may see the gate to your yard. What does your fence look like? Is it newly painted? Is it peeling paint? Is it rusted? In your mind=s eye, walk up the walk to the front door and look at it. Note its color and texture (wood, metal, does it have windows? Is it screened?). Note the handle, knob, doorbell, etc. Look at the window next to the door. In your mind=s eye, try to see, smell, hear, taste, touch, everything you can remember, and then put your hand out and touch the doorknob of that house. Feel the coldness or the warmth of the metal knob, feel the weight of the door and open it. Then imagine the first thing you see after you open the door, which is probably some sort of foyer, and then begin the Memories of Home tour. Walk through the house to every room and try to remember everything you can, every object, the carpet, the linoleum, the hardwood floors, the furniture, the painted or wallpapered walls, pictures or the clock on those walls. Some rooms will have more emotional triggers than others. If a certain room or object frightens you, see if you can stay with the work and dare yourself to explore it [WARNING: We realize that some people=s childhoods have intense, painful trauma, and if you know this about yourself, it would be better to do this exercise with a trained therapist so that you can feel safe. For those of you who have only the normal amount of trauma, press on with your work and continue to look for emotional triggers.] You may find an emotional trigger on your mother=s perfume tray or in your parent=s jewelry box (as I did when I saw my father=s favorite pocket watch and the cuff links I gave him one special Christmas). Don=t ever judge or edit what triggers you. Be curious. There is no reason to be ashamed or intimidated by your own responses, whatever they are. They are for you to know and for your own private use in your acting. Remember, audiences are only interested in seeing the results of these triggers as they create an emotional inner life for your character; they have no interest in nor a need to know the specific source. When you do this exercise, you will be amazed at what you had forgot and what you can now remember. Be courageous B some things will scare you, some things will make you unbearably sad, some things will make you feel intensely angry or joyous or hopeful. At this point you should remember these images and store them in a Agolden box@ of memories that you can use as emotional triggers in your work.
*Based on material in The Intent to Live: Achieving Your True Potential as an Actor by Larry Moss, New York: Bantam Books, 2005

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SERIOUS SCENES
ONE MAN, ONE WOMAN: Maxwell Anderson, THE BAD SEED; II,2; Leroy, Rhoda Edward Allan Baker, NORTH OF PROVIDENCE; Bobby, Carol Harvey Fierstein, ON TIDY ENDINGS; Arthur, Marion Goodrich/Hackett, THE DIARY OF ANNE FRANK; II,2; Anne, Peter Kaufman & Hart, YOU CAN'T TAKE IT WITH YOU; I,2; Alice, Tony William Inge, COME BACK LITTLE SHEBA; II.3; Doc Delaney, Lola William Inge, PICNIC; Act II; Madge, Hal William Inge, PICNIC; III,1; Howard, Rosemary Allan Knee, THE ST. VALENTINE=S DAY MASSACRE, Sheryl, Kenny Jim Leonard, Jr., THE DIVINERS; C. C. Showers, Jennie Mae Arthur Miller, ALL MY SONS; Act I; Chris, Ann Arthur Miller, DEATH OF A SALESMAN; Act I; Linda, Willy. Arthur Miller, THE CRUCIBLE; Act I; John Procter, Abigail Arthur Miller, THE CRUCIBLE; Act III, added scene; John Procter, Abigail N. Richard Nash, THE RAINMAKER; Act II; Lizzie, File N. Richard Nash, THE RAINMAKER; Acts II & III; Lizzie, Starbuck Eugene O'Neill, AH, WILDERNESS! IV,1; Mildred, Richard Eugene O'Neill, AH, WILDERNESS; IV,2; Murial, Richard William Saroyan, HELLO OUT THERE; The Girl, the Young Man William Saroyan, THE TIME OF YOUR LIFE; Joe, Mary Tennessee Williams, THE GLASS MENAGERIE; I,3; Tom, Amanda Tennessee Williams, THE GLASS MENAGERIE; I,4; Tom, Amanda Tennessee Williams, THE GLASS MENAGERIE; II,8; Laura, Jim Tennessee Williams, SUMMER AND SMOKE; I,1; Alma, John Tennessee Williams, A STREETCAR NAMED DESIRE; Scene 2; Blanche, Stanley Tennessee Williams, A STREETCAR NAMED DESIRE; Scene 6; Blanche, Mitch TWO MEN: Edward Albee, ZOO STORY; any scene; Peter, Jerry Coxe & Chapman, BILLY BUDD; I,2; Billy Budd, John Claggart Frank D. Gilroy, THE SUBJECT WAS ROSES; II,4; John, Timmy Arthur Windfield Knight, BLUE EARTH; Jim Cole Arthur Laurents, HOME OF THE BRAVE; II,3; Coney, Doctor Frank McGuinness, SOMEONE WHO=LL WATCH OVER ME; Edward, Michael Arthur Miller, ALL MY SONS; End of Act II; Keller, Chris Arthur Miller, BROKEN GLASS; Scene 3; Hyman, Harriet Arthur Miller, DEATH OF A SALESMAN; Act I; Biff, Happy TWO WOMEN: Zoe Akins, THE OLD MAID; 1st Episode; Charlotte, Delia Enid Bagnold, THE CHALK GARDEN; Act I; Laurel, Madrigal Baker, Edward Allan, DOLORES; Neena Beber. MISREADINGS, Simone, Ruth Shelagh Delaney, A TASTE OF HONEY; I,2; Jo, Helen Lillian Hellman, THE CHILDREN'S HOUR; Act II; Karen, Martha Lillian Hellman, THE LITTLE FOXES; Act III; Regina, Alexandra William Inge, THE DARK AT THE TOP OF THE STAIRS; Act II; Lottie, Cora Neil Labute, THE SHAPE OF THINGS, Scene 8 (pp. 90-94), Evelyn, Jenny Marcelle Maurette, ANASTASIA; Act II; Anna, the Empress [the Arecognition scene@] Jane Martin, KEELY AND DU; Keely, Du Ernest Thompson, ON GOLDEN POND; II,1; Ethel, Chelsea Tennessee Williams, A STREETCAR NAMED DESIRE; Scene 1; Blanche, Stella

Tennessee Williams, A STREETCAR NAMED DESIRE; Scene 4; Blanche, Stella

Tennessee Williams, GLASS MENAGERIE; I,2; Amanda, Laura

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CHARACTER ANALYSIS FORM (SERIOUS SCENE) (Use this as a rough draft guide and then submit the completed form from the Web Page)
Performer's Name____________________________Character's Name_________________________ Partner=s Name_______________________________Partner=s Character=s Name_________________ Play Title____________________________________Author___________________________________ Character's Age_____Date of Action of Play_________Social Class_____________________________

Character's Physical Appearance__________________________________________________ Character's Vocal Characteristics__________________________________________________ Character's Major Intention_______________________________________________________ How does Character Make Decisions?_______________________________________________ Explain the most "serious aspect" of this scene________________________________________ ________________________________________________________________________________ How does Character fit into the action of the play?_____________________________________ ________________________________________________________________________________ List major emotions Character experiences___________________________________________ Describe scene in which Character is first introduced___________________________________ ________________________________________________________________________________ Describe "given circumstances" that precede the action of the play (scene)_________________ ________________________________________________________________________________ ________________________________________________________________________________ Describe Character's most important moment in the play (scene)_________________________ ________________________________________________________________________________ Describe the major conflict in which Character is involved_______________________________ _________________________________________________________________________________ Add any additional comments that would help you understand the Character________________ _______________________________________________________________________________ _______________________________________________________________________________ 20

SCENES OF PHYSICAL CONTACT Scenes involving physical contact need to be rehearsed with great specificity, particularly in regard to physical technique. This is vitally important, both for reasons of effectiveness and safety. No generalization allowed! PHYSICAL CONTACT refers to any body contact between two or more actors. It may involve either: ROMANTIC CONTACT or movement/contact that is motivated by feeling of love and/or lust. MILITANT CONTACT or movement/contact that is motivated by feeling of fight and/or flight. Whether it is a kiss on the lips or a kick to the groin, PHYSICAL CONTACT of any kind requires strong internal emotional commitment as well as specific skills and techniques in order to create an illusion of reality. Since love/hate relationships are intense relationships, they often involve extensive physical contact motivated by intense emotions. Such physical contact must be under complete control and should not be unduly influenced by the emotions. This physical contact, if improperly handled, may cause uneasiness in actors, even fear. In romantic situations, errors in execution may result in embarrassment (either for performers or the audience B or both!); in militant situations, errors in execution may result in serious injury B or death B and subsequent destruction of aesthetic distance! With proper discipline and attitude, however, a mutual trust can be developed between actors that can ensure comfort and safety. ROMANTIC CONTACT: Since romance and sex exist as integral components of life, scenes involving romantic physical contact will appear in plays that are to be performed. Therefore actors should learn how to handle romantic contact. Approaching romantic contact with a professional attitude is essential if growth is to be obtained. The Concept of Space and How it Affects Personal Behavior: Generally speaking, there are four spatial zones that affect our interactive behavior: ! Public ! Private ! Personal ! Intimate Public territories are large open public areas such as restaurants, theatres, schools, parks, etc. Private territories are those areas (large or small) that belong to you, such as your private home, yard, car, office, den, bedroom. Personal territories are those smaller areas you have laid claim to (even temporarily) as your own such as a table in a restaurant, a seat in a theatre, a bed in a shared bedroom, etc. Intimate territories are much more highly personal and usually involves the space that immediately surrounds your body (usually 12-18 inches). This can vary depending upon your own individual character. The Acloser@ a character gets to you (encroaching from Apublic@ to Aintimate@) the more directly we become affected. We become, usually, more protective of our space, the smaller it becomes; we become more vulnerable, the smaller it becomes. Physical contact invariably means encroachment on Aintimate space@ and therefore emotional reactions may be extreme. In romantic situations, our characters may choose to invite physical contact (open ourselves up to sharing very intimate space) or resist physical contact (defend our intimate space). Although such distinctions may be subtle, they are very important dramatically.

TOUCH, as part of physical contact work, is highly important. In romantic scenes, each touch 21

should be carefully and specifically choreographed. Choose exactly where, when, and how each piece of physical contact is to be executed. There are many types of embraces, kisses, caresses, etc. Choose each one with care and deliberation. Work slowly in order to insure actor comfort with the physical contact. There should be no surprises in performances. NUDITY. Many romantic scenes involve nudity or partial nudity. When involved in rehearsing scenes that involve the removal of clothing, I suggest that you under-dress with leotards and tights. Carefully decide how and when to remove clothing. Decide exactly how to handle bed clothing (sheets, pillows, etc.) to allow for a proper degree of modesty (for either the characters involved, or, in any event, the actors and audience). All of this should be rehearsed in detail with a carefully developed score of physical actions outlining each specific movement. No actor enjoys coping with problems of pesky buttons, hard to manage hooks and eyes, snagged zippers, dropped bed sheets, errant pillows, etc. Remember, if something can go wrong on stage, it will! You should also underdress in this manner when your perform such scenes in class. Some specific suggestions: In an embrace, do not avoid body-to-body (torso-to-torso) contact. To do so would invite the Leaning Tower of Pisa effect which might be very inappropriate (except for a highly stylized production). In a kiss, you may choose to mask the actual lip-to-lip contact. Sometimes the audience=s imagination is more fertile than anything you might care to show on stage. In many male/female embraces, it is usual to have the man=s down-stage arm below the woman=s and his upstage arm above. The object, of course, is to let the man=s head cover the kiss and the woman=s face, rather than the man=s, swing toward the audience as they relax. It seems to be customary that audiences are more interested in the woman=s emotional response to such situations that the man=s. In cases where the intent is just the opposite, however, simply reverse the procedure. When kneeling (as in the stereotypical male proposal of marriage), kneel on the downstage knee in order to keep the body open to the audience. In most embraces and/or kisses, variety and interest can be achieved through the selected use of arms and hands on the partner=s back, head, cheek, etc. In most romantic embraces, overt physical contact and/or fondling of highly intimate or Ataboo@ areas (such as inner thighs, breasts, etc.) should be handled with taste and care and perhaps masked from the audience view, if possible. Remember the power of an audience=s imagination! When playing a romantic scene with an actor of the same gender, play it as normally as you can, regardless of your orientation. Avoid popular stereotypes. Play the scene for its dramatic truth, rather than the sensationalism that could be involved. When working out the details of physical contact, feel free to experiment. Be creative. Use your imagination. Slow it down and fill in the details. Exercise good taste when making your final choices. In all cases, it is important that both performers be comfortable with the choices made for physical contact. Any sense of embarrassment, insecurity, or hesitancy on the part of an actor will be readily noticed by the audience and will break the aesthetic distance. Again, remember to work out all specific details and carefully rehearse each piece of physical business very meticulously.

Militant Physical Contact:

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In scenes involving militant physical contact, always apply the basic principles of stage combat which stress safety first, last, and always. Below are some of the basic safety factors involved in stage combat:

STAGE COMBAT:

How to Fight On Stage and Survive

The primary objective of stage combat is safety! Under NO CIRCUMSTANCES should directors attempt to emphasize realism to the point of placing performers in danger of being injured. Actors must KNOW that they are performing safely and audiences react better when they realize that the fight scenes are under control. IF YOU DO NOT KNOW VERY MUCH ABOUT STAGE COMBAT, SEEK HELP FROM SOMEONE WHO DOES! Below are listed some basic principles of safety that all performers should know and follow.

SAFETY FACTORS FOR UNARMED STAGE COMBAT

1) Stress safety in all rehearsals and performances. Help instilling this by masking violence from the audience where possible. Note each safety factor for each technique (e.g., victim provides the impetus, punches are pulled, punches are thrown "out of distance," etc.) 2) Have each fight sequence carefully choreographed. Instill confidence through extensive rehearsal. Remember that each 60-second fight sequence on stage needs about two hours of rehearsal time merely to set or block the action. Much more additional time is needed to perfect the routine. In general, fight scenes, like dances, need more extensive and specific rehearsal than typical dialogue scenes. 3) Begin slowly. Use tumbling mats at first for falls, throws, etc. Carefully build up to stage speed (which is about 3/4 real speed). 4) Control the energy! Don't allow the usual "performance adrenaline" to interfere with the techniques rehearsed. Don't get heavy-handed. 5) Wear proper attire (non-slip foot gear, loose clothing, soft shoes for kicking, padding hidden under costumes, etc.) Avoid jewelry, long fingernails, etc. 6) Watch the performance area and working surface for potential hazards (water, throw rugs, nails, dangerous edges of furniture and set pieces, etc.) 7) Warm up physically before each rehearsal and performance. Rehearse each fight sequence before each performance to review timing, etc. 8) Spot the target! Look where you are slapping, kicking, hitting, etc. so that your partner is sure you both know what is happening. 9) Use your acting skills to "sell" the violence. The most important part of the stage fight is the reaction, including noise (knapps, vocals, etc.) 10) Know when and where to get expert help in stage combat. Don't try to "improvise your way into an injury or liability lawsuit." NO STAGE FIGHT IS WORTH ENDANGERING AN ACTOR'S LIFE OR PHYSICAL WELL-BEING!!!

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SCENES OF PHYSICAL CONTACT MILITANT CONTACT / CONFLICT SCENES: These scenes may be used for the militant conflict scenes because they involve physical contact as an essential aspect of the dramatic action. ONE MAN ONE WOMAN: Edward Albee, WHO'S AFRAID OF VIRGINIA WOOLF? George, Martha *Jean-Claude van Itallie, I'M REALLY HERE; End of play; Doris, Romano Ariel Dorfman, DEATH AND THE MAIDEN; I,3; Roberto, Paulina (No lines) Leroi Jones, THE DUTCHMAN; End of Play; Clay, Lula David Mamet, OLEANNA; Final Scene; John, Carol *William Mastrosimone, EXTREMITIES; Opening Scene Eugene O'Neill, ANNA CHRISTIE; Act II; Burke, Anna *Murray Schisgal, THE TIGER; Opening Sequence; Ben, Gloria Sam Shepherd, FOOL FOR LOVE; Opening Sequence; Eddie, May Bernard Slade, FATAL ATTRACTION; End of Act I, Scene 2; Tony, Blair *John Steinbeck, OF MICE AND MEN; III,1; Lenny, Curley's Wife Ted Tally; HOOTERS; II,1; Ricky, Ronda Tennessee Williams, A STREETCAR NAMED DESIRE; Scene Ten; Stanley, Blanche TWO MEN: Edward Albee, ZOO STORY, End of Play; Peter, Jerry Israel Horovitz, HENRY LUMPER; II,3, pp. 146-9); Vernon & Hall; Hal & Guido Israel Horowitz, NORTH SHORE FISH; II,2, pp. 251-3; Sally, Porker (+3f) *Howard Korder, SEARCH & DESTROY; II,5; Martin, Kim Arthur Laurents, et. al., WEST SIDE STORY; II,5; Tony, Doc Arthur Miller, ALL MY SONS; End of Act II; Keller, Chris #Eugene O'Neill, DESIRE UNDER THE ELMS; Begin III,2; Cabot, Eben (+1f) Harold Pinter, THE ROOM; Final Scene; Bert Hudd, Blind Negro Harold Pinter, THE BIRTHDAY PARTY; Act III opening; McCann, Goldberg Peter Shaffer, ROYAL HUNT OF THE SUN; II,11-12; Pizzaro, Attahualpa (+1m) #Luis Valdez, THE SHRUNKEN HEAD OF PANCHO VILLA, End of II,1; Pedro, Ming August Wilson, MA RAINEY'S BLACK BOTTOM; Final Scene; Levee, Toledo, +Cutler August Wilson, MA RAINEY'S BLACK BOTTOM; II; Cutler, Levee, +Toledo, Slow Drag
TWO WOMEN: #Jean Anouilh, RING ROUND THE MOON; III,1; Isabelle, Diana #Jean Anouilh, WALTZ OF THE TOREADORS; William Gibson, THE MIRACLE WORKER; Act II; Helen [blind, deaf], Annie Sullivan *Marsha Norman, 'NIGHT MOTHER; Final Scene; Thelma (Mama), Jessie *#Deborah Pryor, THE LOVE TALKER; pp. 257-8); Bun, Red Head TWO MEN, ONE WOMAN: *Israel Horowitz, THE WIDOW'S BLIND DATE, Final Scene; Archie, George, Margie TWO MEN, TWO WOMEN: Terrence McNally, LIPS TOGETHER, TEETH APART; Act II; Sam, John, Sally, Cloe FOUR MEN, ONE WOMAN (+ one woman):

Romulus Linney, APRIL SNOW; Scene 5; Gordon, Grady, Bill, Thomas (Milly)

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ROMANTIC CONTACT SCENES: These scenes may be used for the romantic contact scenes because they involve physical contact and/or costume elements essential to the dramatic conflict: ONE MAN, ONE WOMAN: Alan Ayckbourn, FLATSPIN, I,2 (Middle), Rosie, Sam [Comedy], in Damsels in Distress Tom Dulack, BREAKING LEGS; II,2 (End); Terence, Angie [Comedy] Leonard Gershe, BUTTERFLIES ARE FREE; End of I,1; Don [Blind], Jill Richard Greenberg, THE AUTHOR'S VOICE; Scene 3; Todd, Portia *Hare, David, THE BLUE ROOM; Almost any scene in the play (rf. LA RONDE) Ernest A. Joselovitz, THERE IS NO JOHN GARFIELD; Scenes 3,4; Edgar, Margo Garson Kanin, BORN YESTERDAY; II; Paul, Billie [romantic comedy] Neil Labute, THE SHAPE OF THINGS, Scene 4 (pp. 38-45), Evelyn, Adam Romulus Linney, APRIL SNOW; Scenes 2, 5; Gordon, Milly Arthur Miller, BROKEN GLASS; Scene 1 (End); Hyman, Margaret Jason Milligan, ROAD TRIP; Opening Scene; Ron, Lisa #Eugene O'Neill, DESIRE UNDER THE ELMS; II, 1-2; Eben, Abie Howard Sackler, THE GREAT WHITE HOPE; I,6; Jack, Ellie *Arthur Schnitzler, LA RONDE; Almost any scene in the play (cf. BLUE ROOM) Peter Shaffer, EQUUS, Scene 33; Alan, Jill (+Dysart) [nudity] John Patrick Shanley, DANNY AND THE DEEP BLUE SEA; Scene 2; Danny, Roberta Bernard Slade, SAME TIME, NEXT YEAR; Several scenes throughout play *Peter Ustinov, PHOTO FINISH; Act II (98-105); Reginald, Ada (+Young Sam) *John van Druten, THE VOICE OF THE TURTLE; II,2; Bill, Sally Tennessee Williams, THE GLASS MENAGERIE; Gentleman Caller Scene; Tennessee Williams, STREETCAR NAMED DESIRE; Scene 6; Mitch, Blanche Lanford Wilson, THE RIMERS OF ELDRITCH, Near end of Act II. Robert, Eva (+extras) TWO WOMEN: Len Jenkin, CARELESS LOVE, Marie, Wife Frank Marcus, THE KILLING OF SISTER GEORGE; II,2; Alice/Childie, June/George Bernard Slade, FATAL ATTRACTION; End of II,2; Blair, Doris Diana Son, STOP KISS, Final Scene, Sara, Callie TWO MEN: Mart Crowley, THE BOYS IN THE BAND, Michael, Donald, Final Scene in Play TWO MEN, ONE WOMAN: Richard Greenberg, THE AUTHOR'S VOICE; Scene 7; Portia, Todd, (Gene) Paula Vogel, THE BALTIMORE WALTZ; Scenes 12-13; Anna, Garcon, (Carl) * Denotes exceptional or challenging material # Denotes special language / dialect challenges

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CHARACTER ANALYSIS FORM (PHYSICAL CONTACT SCENE) (Use this as a rough draft guide and then submit the complete form from the Web Page) Performer's Name: _______________________Character's Name________________________ Partner=s Name___________________________Partner=s Character=s Name_______________ Play Title_______________________________Author__________________________________ Describe Nature of the Physical Contact (Romantic? Militant?)__________________________ ________________________________________________________________________________ Describe special costume/prop requirements__________________________________________ _______________________________________________________________________________ Character's Age_____Date of Action in Play_________Social Class_______________________ Character's Physical Appearance___________________________________________________ Character's Vocal Characteristics___________________________________________________ Character's Major Intention________________________________________________________ How does Character Make Decisions?________________________________________________ How does Character Relate to Others?________________________________________________ How does Character fit into the action of the play?______________________________________ _________________________________________________________________________________ List major emotions Character experiences____________________________________________ Describe scene in which Character is first introduced____________________________________ _________________________________________________________________________________ Describe "given circumstances" that precede the action of the play (scene)__________________ _________________________________________________________________________________ _________________________________________________________________________________ Describe Character's most important physical moment in the play (scene)__________________ _________________________________________________________________________________ Describe the major conflict in which Character is involved_______________________________ _________________________________________________________________________________ Add any additional comments that would help you understand the Character_______________ _________________________________________________________________________________ 26

PREPARATION FOR A THEATRE AUDITION

"The important thing in acting is to be able to laugh and cry. If I have to cry, I think of my sex life. If I have to laugh, I think of my sex life." --Glenda Jackson When preparing a scene (either for a "cold reading" or a prepared scene or monologue) do whatever you can to find out what the entire play is about. You want to make informed choices in terms of character and performance. Beware of Ausing@ the auditioner/viewer in the scene. Some prefer it, but be prepared to "re-direct focus" if you sense the auditioner/viewer is uncomfortable. Follow the following ten-step guide for preparing an audition: 1. Establish the WHERE? What is the setting? Does it take place in the park? the living room? the bedroom? on the beach? 2. Establish the WHAT? What happens in the scene? What are the events? do? What do the characters

3. Establish the character relationship. Clarify the facts: parent/child; lover/lover; husband/wife; boss/employee; etc. Also clarify the emotional relationship: love; hate; distrust; etc. 4. Identify the CONFLICT. The character conflict can be expressed as the relationship between the character intention and the obstacle. 5. Describe the PRECEDING MOMENT. What happened immediately prior to this scene? 6. Look for INTERNAL CONTRASTS. Look for elements of humor in the scene. Look for emotional and intentional opposites. This adds an interesting dimension to the scene or monologue. 7. SURPRISE!! What does the character discover in the scene that is new? 8. COMMUNICATION. What is your character attempting to communicate, to This may be your most important task! whom, and how?

9. COMPETITION. Look for elements of character competition in the scene. In most scenes, the character will have two competitive stances: 1) I am right and you are wrong; and 2) You should change from what you are to what I think you should be. Play this character competition. 10. IMPORTANCE! Find out what is important in this scene or monologue and why. Make this very important to the character so that you can play it with conviction and intensity. After you have answered these questions, simply relax and DO IT!

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AUDITION MONOLOGUES FOR MEN

Comic: Rimmer, David, ALBUM (Billy, 16) Simon, Neil, BRIGHTON BEACH MEMOIRS (Eugene, 16) Simon, Neil, BILOXI BLUES (Arnold, 19) Guare, John, LYDIE BREEZE, (Lucian, 30's) Guare, John, MARCO POLO SINGS A SOLO (Stony, 30's) Long, John Quincy, THE SEX ORGAN (Ted, 30's-40's) Therriault, Daniel, BATTERY (Rip, 20's-30's) Jenkin, Len, FIVE OF US (Mark, 20's-30's) McNally, Terrence, IT'S ONLY A PLAY (James, 30's-40's) Durang, Christopher, THE MARRIAGE OF BETTE AND BOO (Matt, 16) Macdonald, Sharman, WHEN I WAS A GIRL I USED TO SCREAM AND SHOUT....(Ewan,16) Wilson, Lanford, LAUGHING WILD (Man, 30's-40's)

Stoppard, Tom, THE REAL THING (Henry, 30's-40's) Wilder, Thornton, THE MATCHMAKER (Cornelius, early 20's) Gesner, Clark, YOU'RE A GOOD MAN, CHARLIE BROWN (Charlie, 10)

Serious:
Shaffer, Peter, AMADEUS (Saliari, 30's-40's) Hoffman, William, AS IS (Saul,30's) Mtwa, Percy, BOPHA! (Zwelakhe, 20's, Black) Browne, Stuart, DANCING BEARS (F, 20's-30's) Kopit, Arthur, END OF THE WORLD (Trent, 40's) Wilson, August, FENCES (Troy, 50's, Black) DiFusco, John, TRACERS (Dinky Dau, 19-20) Cartwright, Jim, ROAD (Joey, 20's) Wilson, Lanford, TALLEY AND SON (Timmy, 20's) Hare, David, PLENTY (Brock, 30's-40's) Saunders, James, BODIES (Mervyn, 30's-40's) Medoff, Mark, CHILDREN OF A LESSER GOD (James, 30's) Shanley, John Patrick, DANNY AND THE DEEP BLUE SEA (Danny, 20's-30's) Pomerance. Bernard, THE ELEPHANT MAN (Treves, 30's) Edgar, David, THE JAIL DIARY OF ALBIE SACHS (Albie, 20's-30's) Kramer, Larry, THE NORMAL HEART (Bruce or Ned, 30's-40's) Lauro, Shirley, OPEN ADMISSIONS (Calvin, 18-24, Black) Baker, Edward Allan, NORTH OF PROVIDENCE (Bobby, 20's-30's)

Other:
O'Keefe, John, ALL NIGHT LONG (Eddy, 17) Wilson, Lanford, BURN THIS (Pale, 20's) Korder, Howard, BOYS' LIFE (Phil, Teens-20's) Churchill, Caryl, CLOUD NINE (Martin, 30's) Reddin, Keith, KEYHOLE LOVER Darke, Nick, THE BODY (Dead Body, Teens-20's) (Warren, Teens-20's) Gurney, A. R. Jr., LOVE LETTERS Cole, Tom, MEDAL OF HONOR RAG (Juan, Teens-20's) (D.J., Teens-20's, Black) Pinero, Miguel, SIDESHOW (Clearnose, Teens) Gallagher, Mary, LOVE MINUS Bogosian. Eric, MEN INSIDE ("Rodeo," Teens) (Alan, Teens-20's) Smith, Evan, REMEDIAL ENGLISH (Vincent,Teens) Gray, Spalding, SEX AND DEATH Greenburg, Richard, THE AUTHOR'S VOICE TO THE AGE 14 (30's-40's) (Todd, Teens-20's) Shepard, Sam, THE TOOTH OF CRIME Obey, Andre, NOAH (Act I, Noah, 30's-50's)) (Hoss, 30's-40's) Guare, John, THE HOUSE OF BLUE LEAVES (Act II, Cassady, Marsh, TIES, (Boris) Scene 1, Ronnie, Teens-20's) O'Neill, Eugene, LONG DAY'S JOURNEY Shepard, Sam, MOTEL CHRONICLES (Varied) INTO NIGHT (Act 4, Edmund, 30's-40's) Reddin, Keith, KEYHOLE LOVER (Warren, Teens) Curran, Keith, DALTON'S BACK (Dalton, 29) Greenburg, Richard, TAKE ME OUT (Mason. ABB@) Dietz, Steven, FOOLIN AROUND WITH INFINITY (Jesse, 20's-30's) Bogosian, Eric, FUNHOUSE or POUNDING NAILS (Varied)

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AUDITION MONOLOGUES FOR WOMEN

Comic:
Aron, Geraldine, SAME OLD MOON (Mother Superior, 50's) Gorbea, Carlos, CHARGE IT, PLEASE (Mrs. Howard, 40-50) Sherman, James, BEAU JEST (Sarah, 20's) Shanley, John Patrick, THE BIG FUNK (Jill, 20's) Bodi, Sari, HIDE THE BRIDE (Gayla, 20's) Melfi, Leonard, LAST CALL FOREVER (Mellow Legs, 20's) Rimmer, David, YANKEE WIVES (Marceline Davis, 20's, Black) Rimmer, David, YANKEE WIVES (Ronnie, 20's) (Pam Monday, 21) Amsterdam, Diana, ONE NAKED WOMAN AND A FULLY CLOTHED MAN (Janet, 30's) Durang, Christopher, MRS. SORKEN (Mrs. Sorken, 30's to 50's) Kurtti, Casey, CATHOLIC SCHOOL GIRLS (Teens) Robinson, Betsy, DARLEEN DANCES (Darleen, 20's) Shanley, John Patrick WOMEN OF MANHATTAN (Rhonda, 20'S) Melfi, Leonard, THE BELLEVUE OF THE WEST SIDE (Missy O'Messy, 18) (Rebecca Virgin, 30) Pielmeier, John, CHAPT. 12: THE FROG (Carol, 17) Reddin, Keith, THE INNOCENTS CRUSADE, (Laura, Teens) Reddin, Keith, LIFE DURING WARTIME (Gale, 30's) Friedman, Ken, TASSIE SUFFERS (Tassie, 20's) Mueller, Lavonne, VIOLENT PEACE (Kim, 21) Jory, Jon, SCRUPLES (Mrs. Dobbs) Korder, Howard, SEARCH AND DESTROY (Marie, 20's) Blout, Joan-Ackerman, ZARA SPOOK AND OTHER LURES (Evelyn, 20's) (Margery, 20's) McNally, Terrence, BAD HABITS (Dolly, 30's) Durang, Christopher, WOMAN STAND-UP (Young Woman)

Serious:
Pinera, Miguel, SIDESHOW (Sugar, Teens) Foote, Horton, LILY DALE (Lily, Teens) Tolan, Kathleen, APPROXIMATING MOTHER, Munro, Rona, BOLD GIRLS, (Marie, 34) (Jen, 19) (Fran, 40) Friel, Brian, DANCING AT LUGHNASA (Maggie, 38) Dorfman, Ariel, DEATH AND THE MAIDEN, Anderson, Jane, DEFYING GRAVITY (Elizabeth, 30) (Paulina, 30's-40's) Post, Doug, EARTH AND SKY, (Sara McKeon, 20's) Pielmeier, John, EMOTIONAL RECALL, Swados, Elizabeth, GROUNDHOG (Gila, About 30) (Actress, 20's-40's) Wesley, Richard, THE TALENTED TENTH Baker, Edward Allan, NORTH OF PROVIDENCE, (Tanya, 24, Black) (Carol, 20's-30's)

Other:
Patrick, Robert, KENNEDY'S CHILDREN (Carla, 20's) Wesley, Richard, THE MIGHTY GENTS (Rita, 28, Black) Hagedorn, Jessica, TENEMENT LOVER (24) Shawn, Wallace, AUNT DAN AND LEMON, (Aunt Dan, 30's-40's) Lucas, Craig, CREDO, (Person, 20's-30's) Whitacre, Bruce E., A GENTILE FROM THE TOP PERCENTILE, (Reva, Teens) Tesich, Steve, SQUARE ONE, (Diane, 30's) Pinter, Harold, PARTY TIME, (Melissa, 70) Burger, Katherine Wilcox, WAY DEEP (Jolene, 15) Egloff, Elizabeth, THE SWAN, (Dora, 30's) Bodi, Sari, A SOUVENIR OF POMPEII, (Helen, 20's-30's) McNally, Terrence, BAD HABITS (Dolly, 30's) Pinera, Virgilio, COLD AIR (Luz Marina, 30's) Patrick, John, LOVE IS A TIME OF DAY Harrington, Laura, NIGHT LUSTER, (Roma, 20's) Friel, Brian, LOVERS, (Mag, 17) Newman & Damashek, QUILTERS, (Cassie, 20's) Wagner, Jane, THE SEARCH FOR SIGNS OF INTELLIGENT LIFE IN THE UNIVERSE, (Agnus Angst, 15) Shange, Ntozake, SPELL #7, (Lily, Teens. Black) Mueller, Lavonne, COFFEE AFTER THE STORM, (Olive, 19) McNally, Terrence, LIPS TOGETHER, TEETH APART (Chloe, 30's) Gelbart, Larry, POWER FAILURE, (Coyne, 30's) Kramer, Sherry, WHAT A MAN WEIGHS (Joan, 35) Commire, Anne, STARTING MONDAY (Ellis, 30's) Rabe, David, THOSE THE RIVER KEEPS (Janice, 30's) Glowacki, Janusz, ANTIGONE IN N.Y. (Anita, 35) Giardina, Anthony, LIVING AT HOME (Mary, Teens) Churchill, Caryl, FEN, (Nell, 30's-40's)

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AUDITION ANALYSIS FORM

(Use this as a rough draft guide and then submit the complete form from the Web Page)
(FILL OUT A SEPARATE FORM FOR EACH PIECE)

NAME_________________________________________________________________________ TITLE:______________________________ AUTHOR:________________________________ CHARACTER:_____________________________________________ AGE:_______________ WHERE DOES SCENE TAKE PLACE?____________________________________________ WHEN DOES SCENE TAKE PLACE (DATE & TIME OF DAY)? _____________________ WHAT HAPPENS IN THE SCENE?_______________________________________________ _______________________________________________________________________________ DESCRIBE CHARACTER RELATIONSHIPS:______________________________________ _______________________________________________________________________________ IDENTIFY THE CONFLICT IN TERMS OF CHARACTER INTENTIONS AND OBSTACLES: ________________________________________________________________________________ ________________________________________________________________________________ DESCRIBE THE PRECEDING MOMENT:__________________________________________ ________________________________________________________________________________ IDENTIFY THE "SURPRISE ELEMENT" i.e., WHAT DOES THE CHARACTER DISCOVER IN THE SCENE? _________________________________________________________________ _________________________________________________________________________________ COMMUNICATION. WHAT DOES YOUR CHARACTER TRY TO COMMUNICATE, TO WHOM , AND HOW? _____________________________________________________________ _________________________________________________________________________________ WHAT IS MOST VITALLY IMPORTANT TO THIS CHARACTER IN THIS SCENE?_____ _________________________________________________________________________________ OTHER PERTINENT INFORMATION: _____________________________________________ _______________________________________________________________________________

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AUDITION ANALYSIS FORM

(Use this as a rough draft guide and then submit the complete form from the Web Page)
(FILL OUT A SEPARATE FORM FOR EACH PIECE)

NAME_________________________________________________________________________ TITLE:______________________________ AUTHOR:________________________________ CHARACTER:_____________________________________________ AGE:_______________ WHERE DOES SCENE TAKE PLACE?____________________________________________ WHEN DOES SCENE TAKE PLACE (DATE & TIME OF DAY)? _____________________ WHAT HAPPENS IN THE SCENE?_______________________________________________ _______________________________________________________________________________ DESCRIBE CHARACTER RELATIONSHIPS:______________________________________ _______________________________________________________________________________ IDENTIFY THE CONFLICT IN TERMS OF CHARACTER INTENTIONS AND OBSTACLES: ________________________________________________________________________________ ________________________________________________________________________________ DESCRIBE THE PRECEDING MOMENT:__________________________________________ ________________________________________________________________________________ IDENTIFY THE "SURPRISE ELEMENT" i.e., WHAT DOES THE CHARACTER DISCOVER IN THE SCENE? _________________________________________________________________ _________________________________________________________________________________ COMMUNICATION. WHAT DOES YOUR CHARACTER TRY TO COMMUNICATE, TO WHOM , AND HOW? _____________________________________________________________ _________________________________________________________________________________ WHAT IS MOST VITALLY IMPORTANT TO THIS CHARACTER IN THIS SCENE?_____ _________________________________________________________________________________ OTHER PERTINENT INFORMATION: _____________________________________________ _______________________________________________________________________________

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THE CHOICE SCENE This term you have experienced a variety of performance styles. You have been involved with comedy and serious drama. You have done a scene requiring physical contact, either militant or romantic. You have even experimented with basic improvisation and you have had the opportunity to display your performance skills in an audition situation. Your AChoice Scene@ will allow you to build on these experiences. Actors should always seek to try and explore a wide range of material in order to discover and develop new performance skills. Flexibility is an important quality and can help increase employment opportunities: the wider your performance range, the greater your potential opportunities. GREETINGS!However, when presenting yourself, you should also know the general nature of your skills and to what materials your particular skills are best suited. Are your skills well-suited to comedy/farce or are you stronger in serious drama? When choosing audition material, you would most likely choose material that you can do well so that your audition would be impressive and you would allow the viewer to notice your particular strengths. When choosing your Achoice scene,@ you have two general options. You could choose a scene from a style of drama in which you feel the least secure in order to continue to expand your acting range. If you are most comfortable with comedy, you may want to choose serious drama, or vice versa. The advantage of an acting class exercise is that you can easily afford to take risks here that you might not be able to afford to pursue in the professional world. On the other hand, you may also select a piece that would allow you to further develop some significant skills you have already identified as your strength in order to see how far you can go in this area. For example, you may have discovered that you have the ability to portray deep emotion that you thought was beyond your capabilities before taking this class and you may want to expand on this newly discovered talent. You have also learned that effective acting involves reacting to your partner(s). During this term you have had the opportunity to observe and work with student actors who individually and collectively displayed a wide range of special talents and skills. You may choose a scene that will offer you an opportunity of working with a student who would provide you with an opportunity to react to and interact with a performer who possesses a unique skill or talent. Or a student may provide you with an opportunity to do a particular scene that interests you. In any case, the choice scene offers you an opportunity to grow as an actor. Select your scene with this in mind.

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CHOICE SCENES For suggestions for your AChoice Scene,@ you may use the lists for comic, serious, and physical contact scenes. In addition, you may choose a scene from the list here. ONE MAN, ONE WOMAN: Maxwell Anderson, WINTERSET, I, 3, Miriamne, Mio (Verse) Alan Ayckbourn, ROLE PLAY, I, 1, Julie-Ann, Justin [In DAMSELS IN DISTRESS] Richard Dresser, GUNSHY, I, 1, Carter, Evie Richard Dresser, GUNSHY, I, 2 and I.6, Duncan, Caitlin Tom Dudzick, GREETINGS! I, 1, Andy, Randi Leroi Jones (Imamu Amiri Baraka), DUTCHMAN, Clay (Black), Lula (White) Patrick Marber, CLOSER, Opening Scene, Dan, Alice William Mastrosimone, SHIVAREE, I, 1, Chandler, Laura John Patrick, SCANDAL POINT, Opening Scene, Bruno, Joy Harold Pinter, ASHES TO ASHES, Any Scene, Devlin, Rebecca Ayn Rand, NIGHT OF JANUARY 16th, Several Scenes (Courtroom Interogations) Murray Schisgal, THE TYPISTS, any scene, Paul, Sylvia August Strindberg, MISS JULIE, Any Scene, Jean, Julie Landford Wilson, TALLY=S FOLLY, Any Scene, <att Friedman, Sally Talley TWO WOMEN: Alan Ayckbourn, GAMEPLAN, I, 1, Sorrell, Lynnette [In DAMSELS IN DISTRESS] Alan Ayckbourn, GAMEPLAN, I, 1, Sorrell, Kelly [In DAMSELS IN DISTRESS] Ann-Maerie MacDonald, GOODNIGHT DESDEMONA (GOOD MORNING JULIET), Desdemona, Constance Thornton Wilder, THE HAPPY JOURNEY TO TRENTON AND CAMDEN, End of Play, Beulah, Ma TWO MEN: Mart Crowley, THE BOYS IN THE BAND, I, 1, Michael, Donald William Mastrosimone, SHIVAREE, I, 1, Chandler, Scagg Arthur Miller, BROKEN GLASS, Scene 7, Case, Gellburg William Saroyan, THE TIME OF YOUR LIFE, Act I, Joe, Tom TWO MEN, ONE WOMAN: Leroi Jones (Imamu Amiri Barak), THE SLAVE, Walker (Black), Easley (White), Grace (White)

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CHARACTER ANALYSIS FORM (CHOICE SCENE)

(Use this as a rough draft guide and then submit the complete form from the Web Page) Performer's Name______________________Character's Name_______________________ Partner=s Name________________________Partner=s Character=s Name______________ Play Title____________________________Author__________________________________ Describe Nature of the scene____________________________________________________ ____________________________________________________________________________ Describe special costume/prop requirements______________________________________ ____________________________________________________________________________ Character's Age_____Date of Action of Play___________Social Class_________________ Character's Physical Appearance_______________________________________________ Character's Vocal Characteristics_______________________________________________ Character's Major Intention___________________________________________________ How does Character Make Decisions?___________________________________________ How does Character Relate to Others?__________________________________________ How does Character fit into the action of the play?________________________________ ____________________________________________________________________________ List major emotions Character experiences_______________________________________ Describe "given circumstances" that precede the action of the play (scene)_____________ ______________________________________________________________________________ ______________________________________________________________________________ Describe Character's most important physical moment in the play (scene)_______________ ______________________________________________________________________________ Describe why you chose this scene (Special Appeal)__________________________________ ______________________________________________________________________________ Add any additional comments that would help you understand the Character___________ _____________________________________________________________________________

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AN ARTIST=S

PRAYER *

O Great Creator, We are gathered together in your name That we may be of greater service to you And to our fellows. We offer ourselves to you as instruments. We open ourselves to your creativity in our lives. We surrender to you our old ideas. We welcome your new and more expansive ideas. We trust that you will lead us. We trust that it is safe to follow you. We know you created us and that creativity Is your nature and our own. We ask you to unfold our lives According to your plan, not our low self-worth. Help us to believe that it is not too late And that we are not too small or too flawed To be healed B By you and through each other B and made whole. Help us to love one another, To nurture each other=s unfolding, To encourage each other=s growth, And understand each other=s fears. Help us to know that we are not alone, That we are loved and lovable. Help us to create as an act of worship to you.

*Cameron, Julia, The Artist=s Way, New York: Putnam=s Sons, 1992

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