1. Creating Characters The process through which an actor creates a character (whether a specific character from a play or a character for a skit or pantomime) is called The Characterization Process The process through which an actor creates a character (whether a specific character from a play or a character for a skit or pantomime) is called The Characterization Process This process involves the actor tapping into several possible sources for help This process involves the actor tapping into several possible sources for help

2. Characterization Process By using any of the following five elements, you can help create a fully developed character By using any of the following five elements, you can help create a fully developed character Observation and Experience—watch others and remember what you see and hear Observation and Experience—watch others and remember what you see and hear Sense Memory—using your own memories of sights, sounds, smells, tastes, and textures to help define a character in a certain situation Sense Memory—using your own memories of sights, sounds, smells, tastes, and textures to help define a character in a certain situation Emotional memory—technique of calling upon your own memories of intense emotions to understand your character (inside-out approach) Emotional memory—technique of calling upon your own memories of intense emotions to understand your character (inside-out approach) Action Generated Memory—technique in which you perform the action associated with the emotion in order to kick start the emotion (outside-in) Action Generated Memory—technique in which you perform the action associated with the emotion in order to kick start the emotion (outside-in) Imagination Imagination

3. Motivation and Behavior What is a motive? What is a motive? A clear reason to do or say ANYTHING A clear reason to do or say ANYTHING Motive determines your objective —your goals or intentions Motive determines your objective —your goals or intentions When analyzing a scene or monologue, first ask yourself two questions When analyzing a scene or monologue, first ask yourself two questions What is my motive? What is my motive? What is my objective? What is my objective? Once you have determined those…. Once you have determined those….

4. Motivation and Behavior Figure out the following Figure out the following Obstacles—what stands in the way of you achieving your objective? (hint—the obstacles create the conflict Obstacles—what stands in the way of you achieving your objective? (hint—the obstacles create the conflict Strategy—what is your character’s plan to overcome the obstacles? Strategy—what is your character’s plan to overcome the obstacles? Stakes—what does your character stand to gain or lose? Stakes—what does your character stand to gain or lose? Outcome—what is the result of the action (strategy) your character takes (in the scene…monologue…the whole play)? Outcome—what is the result of the action (strategy) your character takes (in the scene…monologue…the whole play)?

5. Marking your beats When analyzing a monologue (or a scene), you can divide your character’s changing emotions into beats When analyzing a monologue (or a scene), you can divide your character’s changing emotions into beats Beat: the smallest emotional unit for a character in a scene Beat: the smallest emotional unit for a character in a scene Determined by the actor Determined by the actor Sometimes creates a pause in the line Sometimes creates a pause in the line Each beat should correspond to a new emotion felt by the character Each beat should correspond to a new emotion felt by the character By dividing a scene or monologue into beats, you can create emotional levels By dividing a scene or monologue into beats, you can create emotional levels

6. Blocking a Monologue Blocking: the process of planning and coordinating any movement on the stage Blocking: the process of planning and coordinating any movement on the stage In a play, blocking in determined by the director and becomes a collaborative process with the actors In a play, blocking in determined by the director and becomes a collaborative process with the actors For a monologue, the actor must block himself. For a monologue, the actor must block himself.

7. Blocking a Monologue Rules for Blocking Rules for Blocking Never move without a purpose Never move without a purpose Check the stage directions—sometimes the playwright has ideas about where and when to move Check the stage directions—sometimes the playwright has ideas about where and when to move These are not law; however, you must make the final decision. These are not law; however, you must make the final decision.

8. Understanding Stage Directions All stage directions are written from the perspective of the actor as he faces the audience. All stage directions are written from the perspective of the actor as he faces the audience. SR: stage right SR: stage right SL: stage left SL: stage left C: center stage C: center stage U:upstage (or away from the audience) U:upstage (or away from the audience) D: downstage (or toward the audience) D: downstage (or toward the audience)

9. Stage Areas Stage is generally divided into 9 locations Stage is generally divided into 9 locations