1. The 21 Acting Lessons Sands and Keyes

2. 1. How do you do? How do you do is usually rote. How do you do is usually rote. Other times we really care Other times we really care Look at situations where you would care about the answer– “If I were______”

3. 2. Where do we go from Here? Three purposes of dramatics? Three purposes of dramatics? Train for the stage? Train for the stage? Speak with an accent? Speak with an accent? Be in plays? Be in plays? Develop self confidence? Develop self confidence? Show off? Show off? Increase appreciation of theatre? Increase appreciation of theatre? Give skill in writing? Give skill in writing? Make money? Make money? Other? Other?

4. You will learn You will learn Concentration Concentration About Human Nature About Human Nature About your Own mind and body About your Own mind and body Principles of group living Principles of group living Undersanding of line, mass and color Undersanding of line, mass and color Knowledge of sound Knowledge of sound

5. 3. We hit rock bottom Technique can only be learned through practice Technique can only be learned through practice Concentration is essential. It is the first law in the game of acting! Concentration is essential. It is the first law in the game of acting!

6. 4. We learn to Concentrate When you learn to focus your attention when you want, where you want, for as long as you want, you have learned to concentrate. When you learn to focus your attention when you want, where you want, for as long as you want, you have learned to concentrate. 1. Give yourself the benefit of trying 1. Give yourself the benefit of trying 2. Do it in relation to real objects 2. Do it in relation to real objects 3. Make rehearsal a training of concentration 3. Make rehearsal a training of concentration 4. Draw a magic circle. Use that for concentration 4. Draw a magic circle. Use that for concentration REACTING is half the game. Concentrate and Connect!

7. 5. Connection Use your five senses Use your five senses Concentrate on the other person Concentrate on the other person Make sure you REACT when you connect. Make sure you REACT when you connect.

8. 6. Connection vs. Two bad habits Two bad habits: anticipation and playing alone Two bad habits: anticipation and playing alone Anticipation is when you ready your line when someone is speaking instead of actually listening to them Anticipation is when you ready your line when someone is speaking instead of actually listening to them Playing alone is when you try and carry a performance yourself or show off for the audience Playing alone is when you try and carry a performance yourself or show off for the audience

9. 7. Stage Energy Do not confuse excitement with energy Do not confuse excitement with energy You must rehearse energy You must rehearse energy Use the energy to get a “lift” Use the energy to get a “lift”

10. 8. Rhythm Rhythm must be CONSCIOUS! Rhythm must be CONSCIOUS! Any factor that makes you tense will hurt your rhythm Any factor that makes you tense will hurt your rhythm There is no clear definition of rhythm There is no clear definition of rhythm

11. 9. Rhythm vs. Rhythm Mechanical rhythm lacks variation Mechanical rhythm lacks variation Natural rhythm has infinite variety Natural rhythm has infinite variety Do not confuse rhythm and tempo Do not confuse rhythm and tempo Rhythm has nothing to do with speed Rhythm has nothing to do with speed Bad rhythm becomes slow tempo Bad rhythm becomes slow tempo

12. 10. Characterization Imagine different people in the same situation— they will behave differently Imagine different people in the same situation— they will behave differently On the stage our task is to bring the characters to life On the stage our task is to bring the characters to life An audience must judge a character based on what the character says or does and what is said about him An audience must judge a character based on what the character says or does and what is said about him

13. 11. Interior Characterization: The Spine The spine of the character is the character’s purpose in life, the goal towards which he strives. The spine of the character is the character’s purpose in life, the goal towards which he strives. Until you know the driving power is, you cannot claim to know anything about him. Until you know the driving power is, you cannot claim to know anything about him. A character reveals his spine through reactions, words and deeds A character reveals his spine through reactions, words and deeds

14. 12. Interior Characterization: Problems and Action Steps You must face the character’s problems with him You must face the character’s problems with him The spine determines HOW the characters solve their problems The spine determines HOW the characters solve their problems As each character attempts to solve his problems, he comes in conflict with the other characters As each character attempts to solve his problems, he comes in conflict with the other characters THIS IS THE ESSENTIAL ACTION OF THE PLAY! THIS IS THE ESSENTIAL ACTION OF THE PLAY!

15. 13 Interior Characterization: Emotions Emotion grows more powerful when it reinforces action Emotion grows more powerful when it reinforces action Action increases emotion Action increases emotion Look at techniques for anger, love and fear. Look at techniques for anger, love and fear.

16. 14. Interior Charecterization: Moods Mood is an emotion that gets set Mood is an emotion that gets set Use the action steps you use for a similar emotion Use the action steps you use for a similar emotion Gaining control over moods in real life is an important result of acting Gaining control over moods in real life is an important result of acting

17. 15. Exterior Characterization Posture/Walk/Pantomime There are two types of posture: normal and abnormal There are two types of posture: normal and abnormal Posture and walk can be part of characterization Posture and walk can be part of characterization Complete control of all parts of the body is essential to an actor’s art. Complete control of all parts of the body is essential to an actor’s art. Pantomime is sometimes an additional art form Pantomime is sometimes an additional art form

18. 16. Exterior Characterization: Mannerisms When we sharpen our senses through concentration, we discover we react to the world around us and by our reactions we are judged When we sharpen our senses through concentration, we discover we react to the world around us and by our reactions we are judged There are accessory reactions or mannerisms (including vocal mannersms) There are accessory reactions or mannerisms (including vocal mannersms)

19. 17. Exterior Characterization: Voice and Diction An actor’s tools are his voice and body An actor’s tools are his voice and body Your manner of speaking reveals the kind of person you are Your manner of speaking reveals the kind of person you are An actor’s first job is to be heard An actor’s first job is to be heard Resonance and diction are essential—Stage speech Resonance and diction are essential—Stage speech

20. 18. Exterior Characterization: Make up Make up has two purposes Make up has two purposes To offset stage lighting To offset stage lighting To aid in characterization To aid in characterization Unless there is a specific reason to not do so, use make up to aid characterization Unless there is a specific reason to not do so, use make up to aid characterization

21. 19 Styles in Acting The shape and size of the theater affect the acting The shape and size of the theater affect the acting The kind of play affects the acting The kind of play affects the acting The historical period requires you to reconstruct the life of persons in that era. The historical period requires you to reconstruct the life of persons in that era. Costumes affect how you can move Costumes affect how you can move

22. Lesson 20: Projection On stage you must exaggerate your movements and voice so that it may be seen and heard by the people in the last row but will not be overacting to the people in the first row On stage you must exaggerate your movements and voice so that it may be seen and heard by the people in the last row but will not be overacting to the people in the first row --Cheat out --sharpen intial and final consonants --project --do not look at someone’s eyes all the time --play diagonal lines

23. Lesson 21: Do’s and Don’ts Carry a pencil Carry a pencil Don’t move when someone else speaks Don’t move when someone else speaks Turn naturally Turn naturally Don’t put both hands on furniture Don’t put both hands on furniture Use vocal energy Use vocal energy Rehearse emotional scenes slowly Rehearse emotional scenes slowly Don’t walk backwards Don’t walk backwards Trust the director Trust the director Write out the other ends of phone conversations Write out the other ends of phone conversations Use props. Don’t mime! Use props. Don’t mime!

24. Don’t direct other actors Don’t direct other actors Bring something about your part to rehearsal Bring something about your part to rehearsal Don’t say it—PLAY IT! Don’t say it—PLAY IT!