- Using lines as an excuse
- “When I know the lines I’ll be able to perform the scene better” - this is an excuse to cover up many things, mainly inhibitions, the fear of trying something or not knowing what to do because you haven’t read the scene/script enough. As Lee Strasberg (The Method guru) once said, learning lines is about memory and acting has nothing to do with memory. My advice is to play and experiment with the scene. You can only do this by reading it and making justified choices. Find a suitable way of training your memory to learn lines effectively because that’s not the job of your acting coach.
- Not reading the script enough - AKA lazy acting. Some actors go through the script, but only to learn their lines. You need to know the FULL story, not just the story of the scene your character appears in or only the story of your character. To get the full picture you must read the FULL script (more than once). Here are some things to think about when reading the FULL script: Why does your character choose those specific words? What do they really mean? What is really going on? What has lead them to where they are now? In the early stages of character development you’re like a detective; you have to piece the full picture together to be able to connect to the character, then you have to figure out what the motive behind the character’s behavior is so you can make clear choices in each scene you appear in.
- Forcing emotions/trying too hard - this is usually done to impress, and there is logic in that, but acting should feel effortless. When you try too hard or try to force something, it looks fake, feels strange and just doesn’t make the thing you’re trying to make happen appear. The same happens with emotions. Find inner purpose for what your character is going through and demonstrating through gestures and expressions.
#actor #tv #film #video #script #writer #drama #manager #agent #casting #director #success #hollywood
6 people like this
To get the full picture you must read the FULL script (more than once)- 100%!!! This will also aid with your next point of not forcing emotions. If you take the time to really dive into the material and understand the world, the characters, and the full scope of the story, then the emotions and inner motivations of the character will become so clear that it is effortless. You can't tap into the deeper meanings and feelings if you don't take the time to really know and understand who it is that you're portraying and why they're making the choices that they're making.
3 people like this
Great advice, Tammy Hunt!
3 people like this
Great tips, Tammy Hunt - thank you for always bringing such terrific advice to the community!
3 people like this
Thank you Tammy Hunt I hope beginners are reading your posts. So many gems!
5 people like this
Really appreciate your information. I find that for smaller roles in major projects, I never receive a script. Only the sides. This is the short portion of the script that I will be auditioning with. Like Tammy said, we still have to do the same investigative work. Even it we only have 1 or 2 lines. Sometimes, I have to make my own decisions. It might not be the right one, but that is OK. As long as the actor looks right for the part and gives an interesting read, that should be enough for a call back. This is when the casting director or director can give us more notes.
Thank you again Tammy for sharing your wisdom.
2 people like this
All opinions are useful, but I'm sure you'll allow that when actors protest that they "need to learn lines first" they are expressing some need, some feeling which they may be expressing badly, and that - 'mysteriously'- when the actors do know their lines they may have concentrated themselves in some way which actually helps hem identify with their character and start truthfully acting. But, yes, I agree actors make excuses, but it's really FEAR which needs dealing with, and there aren't enough director around who understand the plays they are working on.
1 person likes this
You're absolutely right John. FEAR is what is stopping them, not the lines.
1 person likes this
I love it
2 people like this
Heavens! 2 people who agree with me! I must be wrong then. But after moving to the USA from the UK and finding people here still think Arthur Miller had novel ideas and that Tennessee Williams knew things about women (which, of course, he did not) and that every damned new play ( like in the awful UK now) is about childhood abuse or race, - in other words, the same thing as the previous 147 plays that I've seen here (their number being the ONLY thing they have in common with snooker) - I am now battling to finish a script about how Yanks and Brits can be friends, and wondering if I'm in fact on a desert island. But good wishes to anyone out there who was willing to read this far. I'll help with your production if you help with mine, and I don't need your money. John Windsor-Cunningham
1 person likes this
I totally agree with you, Tammy. Thanks for reminding!
2 people like this
Interesting post Tammy, it's not the lines that are important or the way you say them, it's creating the inner self of the character.
1 person likes this
Very cool I agree with most of this post. Thanks for sharing!
1 person likes this
Trouble is that actors can easily have cliche ideas of what a line means, and if we combine obvious actors with obvious writers we get - what? - oh yes, modern theatre. Stoppard has to be stopped. I'm never normally unkind about anyone, but he needs new help. J.
2 people like this
I love this - don't use lines as an excuse - Absolutely!!! Thanks for saying.