Developing A Character Fundamentals of Theatre I
Description: Developing A Character Fundamentals of Theatre I Mr. Morris The Monologue When the actor bears the responsibility of revealing the soul of a human being caught at a crucial moment and presenting it sympathetically to an audience. The
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slide1. Developing A Character Fundamentals of Theatre I
Mr. Morris<br>
slide2. The Monologue When the actor bears the responsibility of revealing the soul of a human being caught at a crucial moment and presenting it sympathetically to an audience.<br>
slide3. The Monologue When the actor bears the responsibility of revealing the soul of a human being caught at a crucial moment and presenting it sympathetically to an audience.<br>
slide4. What are the steps in preparing your monologue?<br>
slide5. STEPS IN PREPARING YOUR MONOLOGUE STUDY YOUR SELECTION
DEFINE UNKNOWN WORDS
IDENTIFY THE SUBTEXT OF EACH LINE
DIVIDE THE SELECTION INTO UNITS (P.O.C)
MARK THE SCRIPT FOR VOCAL STRATEGIES<br>
slide6. THE THREE PRESENTATION STYLES 1. To Audience
2. Thinking Aloud
3. To Another Character<br>
slide7. STEPS IN PREPARING YOUR MONOLOGUE PLAN THE MOVEMENT PRESENTATION STYLE
BELIEVE WHO YOU ARE AND PRACTICE<br>
slide8. Procedure The Monologue Introduction<br>
slide9. Procedure Set your stage pieces.
Stand downstage and wait for audience attention.
Perform monologue introduction.
Move to your first position for the monologue performance.
Pause (1-2-3)
Begin monologue in CHARACTER.
After the last word of your monologue, pause a beat & lower your head.
DON’T CALL SCENE!!!<br>
slide10. THE INTRODUCTION Hello. My name is __________, and I will be performing a monologue from the play __________. I will be playing the part of __________.
A one sentence set up is optional.<br>
slide11. MOVING IN YOUR MONOLOGUE KEEP SET SIMPLE
ANGLE SET PIECES
WORK YOUR SPACE
USE A VARIETY OF MOTIVATED MOVEMENT!
DON’T ACT OUT YOUR MONOLOGUE!<br>
slide12. Acting Techniques Developing a Character<br>
slide13. Acting Techniques The Emotional approach:
Called – The Method
Created by Stanislavski
He established the Moscow Art Theater<br>
slide14. Method Acting The key is the Magic If: The actor is to imagine that he or she is that character…live the part on and off stage… and always focus on what he or she would do or say as the character in the situation.<br>
slide15. Method Acting Emotion Memory A technique used by Stanislavski allows actors to give their character feelings and emotions through a recollection of their own life experiences.<br>
slide16. Method Acting Emotion Memory Emotional Memory requires that an actor recreate an event from the distant past in order to regenerate the ‘feelings’ experienced at that time.
These feelings thus regenerated are then used in the current acting situation in order to fill out the role with ‘human depth and personal involvement’.<br>
slide17. Books By Stanislavski My Life in Art
(autobiography)
2. An Actor Prepares<br>
slide18. The Technical Approach Sir Tyrone Guthrie developed this.
He emphasized technique rather than emotional involvement.
He believed the actor should Observe and Imitate, not analyze the character.<br>
slide19. 4 STEPS TO PREPARING FOR A PERFORMANCE<br>
slide20. Step 1 Study the Play What is the theme?
What is the conflict?
What is the style
Why do the characters react the way they do?
What is your characters function?
What is your characters relationship to others?<br>
slide21. Step 2 Analyze the Character Consider: Social
Class Status
Occupation
Education
Home life/situation
Religion
Community Personal
Hobbies
Moral Attitudes
Ambitions
Attitude toward life
Mental Health
Personality
Dress
Talents<br>
slide22. Character Sketch The Character Sketch is used to Analyze the Character.<br>
slide23. Finding your character 5 keys to finding your character.
Playwrights description ()
Characters words
What others say about you
Suggested stage business
Changes in character’s attitudes<br>
slide24. Ask yourself the WHO AM I ?
WHERE AM I ?
WHAT DO I WANT ?
WHY DO I WANT IT ?
WHAT IS PREVENTING ME FROM GETTING IT ?
WHAT AM I WILLING TO DO TO GET WHAT I WANT ?
WHO DO I WANT IT FROM ?
WHEN DO I NEED IT ? W Checklist<br>
slide25. Step 3 Build the Character *First, Memorize your lines !!!
Suggestions
Get off script early
Use your movement
Use flash cards
Practice out loud
Tape lines on a recorder
Know the meaning of the line<br>
slide26. THE WHOLE METHOD OF MEMORIZATION The actor memorizes by reading the script over and over until he KNOWS & UNDERSTANDS what he is saying. Then he tackles the problem lines. BY ENTIRE PART
BY SPECIFIC LINE
BY SPECIFIC WORD<br>
slide27. Stage Movement NEXT, DEVELOP STAGE MOVEMENT: THE PLANNED STAGE MOVEMENT OF AN ACTOR.
USE BLOCKING SYMBOLS<br>
slide28. BLOCKING SYMBOLS MOVEMENT
FURNITURE/
SET PIECES
PAUSE
CROSS TO
CHARACTERS NAME BM (FIRST INITIAL)<br>
slide29. Master Gesture Create a Master Gesture
A gesture that is created by the actor and used as part of his character.
Create a character voice
And mark your script with vocal strategies<br>
slide30. Develop Stage Business Any action other than stage movement that accompanies a line or works in a situation.
Examples
Reading a Newspaper
Pouring a cup of tea<br>
slide31. Step 4 Rehearse Work & Practice toward Believability!!!!
Get off script EARLY
Create a character sketch for your character
Be creative in your presentation
Know the character inside and out<br>
slide32. Step 4 Rehearse Work & Practice toward Believability!!!!
Use vocal strategies
Know why you are saying what you are saying
Find the subtext in every line you present…. Vocal and physical.<br>
slide33. Character Development Terminology<br>
slide34. Character Development Terminology Principal : A Lead in a Play
Ingénue : A young female lead (16 – 30)
Juvenile : A young male lead
Straight Part : A normal character
Character Part : A character that would require extra work from the actor. An unusual part.<br>
slide35. Character Development Terminology Typecasting : When an actor is cast over and over for the same role.
Bit Part : Actor with few lines
Walk-on : Actor without lines
Internal Qualities : characters background / attitude / mental ability
External Qualities : posture / movement / voice / appearance / costume<br>
slide36. The Character Sketch A Form reflecting an intense study of the character by the actor. (the actor must create a history for the character)<br>
slide37. Character Development Evaluations THE CHARACTER SKETCH
Detailed information about the character ? Creation of information unknown ? Every aspect of the character analyzed ?
TOTAL : 100 Points
THE SUBTEXT IDENTIFICATION
Detailed marking of your subtext for EVERY line of your monologue
TOTAL : 100 Points
THE VOCAL STRATEGIES MARKINGS
Detailed vocal strategy markings of EVERY line in your monologue
TOTAL : 100 Points<br>
slide38. Character Development Evaluations THE MONOLOGUE INTRODUCTION
Poise / Voice
Organization of Introduction. Set up before monologue performance. Monologue performance (2-3 lines) Overall effectiveness
TOTAL : 30 Points
THE MONOLOGUE PERFORMANCE
Vocal Expression 30 Points
Blocking of Movement 30 Points
Believability of Character 25 Points
Monologue Introduction 15 Points
TOTAL : 100 Points<br>
slide39. YOU MADE IT !!!!! GOOD LUCK ON YOUR MONOLOGUES !!!!<br>
Mr. Morris<br>
slide2. The Monologue When the actor bears the responsibility of revealing the soul of a human being caught at a crucial moment and presenting it sympathetically to an audience.<br>
slide3. The Monologue When the actor bears the responsibility of revealing the soul of a human being caught at a crucial moment and presenting it sympathetically to an audience.<br>
slide4. What are the steps in preparing your monologue?<br>
slide5. STEPS IN PREPARING YOUR MONOLOGUE STUDY YOUR SELECTION
DEFINE UNKNOWN WORDS
IDENTIFY THE SUBTEXT OF EACH LINE
DIVIDE THE SELECTION INTO UNITS (P.O.C)
MARK THE SCRIPT FOR VOCAL STRATEGIES<br>
slide6. THE THREE PRESENTATION STYLES 1. To Audience
2. Thinking Aloud
3. To Another Character<br>
slide7. STEPS IN PREPARING YOUR MONOLOGUE PLAN THE MOVEMENT PRESENTATION STYLE
BELIEVE WHO YOU ARE AND PRACTICE<br>
slide8. Procedure The Monologue Introduction<br>
slide9. Procedure Set your stage pieces.
Stand downstage and wait for audience attention.
Perform monologue introduction.
Move to your first position for the monologue performance.
Pause (1-2-3)
Begin monologue in CHARACTER.
After the last word of your monologue, pause a beat & lower your head.
DON’T CALL SCENE!!!<br>
slide10. THE INTRODUCTION Hello. My name is __________, and I will be performing a monologue from the play __________. I will be playing the part of __________.
A one sentence set up is optional.<br>
slide11. MOVING IN YOUR MONOLOGUE KEEP SET SIMPLE
ANGLE SET PIECES
WORK YOUR SPACE
USE A VARIETY OF MOTIVATED MOVEMENT!
DON’T ACT OUT YOUR MONOLOGUE!<br>
slide12. Acting Techniques Developing a Character<br>
slide13. Acting Techniques The Emotional approach:
Called – The Method
Created by Stanislavski
He established the Moscow Art Theater<br>
slide14. Method Acting The key is the Magic If: The actor is to imagine that he or she is that character…live the part on and off stage… and always focus on what he or she would do or say as the character in the situation.<br>
slide15. Method Acting Emotion Memory A technique used by Stanislavski allows actors to give their character feelings and emotions through a recollection of their own life experiences.<br>
slide16. Method Acting Emotion Memory Emotional Memory requires that an actor recreate an event from the distant past in order to regenerate the ‘feelings’ experienced at that time.
These feelings thus regenerated are then used in the current acting situation in order to fill out the role with ‘human depth and personal involvement’.<br>
slide17. Books By Stanislavski My Life in Art
(autobiography)
2. An Actor Prepares<br>
slide18. The Technical Approach Sir Tyrone Guthrie developed this.
He emphasized technique rather than emotional involvement.
He believed the actor should Observe and Imitate, not analyze the character.<br>
slide19. 4 STEPS TO PREPARING FOR A PERFORMANCE<br>
slide20. Step 1 Study the Play What is the theme?
What is the conflict?
What is the style
Why do the characters react the way they do?
What is your characters function?
What is your characters relationship to others?<br>
slide21. Step 2 Analyze the Character Consider: Social
Class Status
Occupation
Education
Home life/situation
Religion
Community Personal
Hobbies
Moral Attitudes
Ambitions
Attitude toward life
Mental Health
Personality
Dress
Talents<br>
slide22. Character Sketch The Character Sketch is used to Analyze the Character.<br>
slide23. Finding your character 5 keys to finding your character.
Playwrights description ()
Characters words
What others say about you
Suggested stage business
Changes in character’s attitudes<br>
slide24. Ask yourself the WHO AM I ?
WHERE AM I ?
WHAT DO I WANT ?
WHY DO I WANT IT ?
WHAT IS PREVENTING ME FROM GETTING IT ?
WHAT AM I WILLING TO DO TO GET WHAT I WANT ?
WHO DO I WANT IT FROM ?
WHEN DO I NEED IT ? W Checklist<br>
slide25. Step 3 Build the Character *First, Memorize your lines !!!
Suggestions
Get off script early
Use your movement
Use flash cards
Practice out loud
Tape lines on a recorder
Know the meaning of the line<br>
slide26. THE WHOLE METHOD OF MEMORIZATION The actor memorizes by reading the script over and over until he KNOWS & UNDERSTANDS what he is saying. Then he tackles the problem lines. BY ENTIRE PART
BY SPECIFIC LINE
BY SPECIFIC WORD<br>
slide27. Stage Movement NEXT, DEVELOP STAGE MOVEMENT: THE PLANNED STAGE MOVEMENT OF AN ACTOR.
USE BLOCKING SYMBOLS<br>
slide28. BLOCKING SYMBOLS MOVEMENT
FURNITURE/
SET PIECES
PAUSE
CROSS TO
CHARACTERS NAME BM (FIRST INITIAL)<br>
slide29. Master Gesture Create a Master Gesture
A gesture that is created by the actor and used as part of his character.
Create a character voice
And mark your script with vocal strategies<br>
slide30. Develop Stage Business Any action other than stage movement that accompanies a line or works in a situation.
Examples
Reading a Newspaper
Pouring a cup of tea<br>
slide31. Step 4 Rehearse Work & Practice toward Believability!!!!
Get off script EARLY
Create a character sketch for your character
Be creative in your presentation
Know the character inside and out<br>
slide32. Step 4 Rehearse Work & Practice toward Believability!!!!
Use vocal strategies
Know why you are saying what you are saying
Find the subtext in every line you present…. Vocal and physical.<br>
slide33. Character Development Terminology<br>
slide34. Character Development Terminology Principal : A Lead in a Play
Ingénue : A young female lead (16 – 30)
Juvenile : A young male lead
Straight Part : A normal character
Character Part : A character that would require extra work from the actor. An unusual part.<br>
slide35. Character Development Terminology Typecasting : When an actor is cast over and over for the same role.
Bit Part : Actor with few lines
Walk-on : Actor without lines
Internal Qualities : characters background / attitude / mental ability
External Qualities : posture / movement / voice / appearance / costume<br>
slide36. The Character Sketch A Form reflecting an intense study of the character by the actor. (the actor must create a history for the character)<br>
slide37. Character Development Evaluations THE CHARACTER SKETCH
Detailed information about the character ? Creation of information unknown ? Every aspect of the character analyzed ?
TOTAL : 100 Points
THE SUBTEXT IDENTIFICATION
Detailed marking of your subtext for EVERY line of your monologue
TOTAL : 100 Points
THE VOCAL STRATEGIES MARKINGS
Detailed vocal strategy markings of EVERY line in your monologue
TOTAL : 100 Points<br>
slide38. Character Development Evaluations THE MONOLOGUE INTRODUCTION
Poise / Voice
Organization of Introduction. Set up before monologue performance. Monologue performance (2-3 lines) Overall effectiveness
TOTAL : 30 Points
THE MONOLOGUE PERFORMANCE
Vocal Expression 30 Points
Blocking of Movement 30 Points
Believability of Character 25 Points
Monologue Introduction 15 Points
TOTAL : 100 Points<br>
slide39. YOU MADE IT !!!!! GOOD LUCK ON YOUR MONOLOGUES !!!!<br>