Editing a Scene - in four parts
1.) Sometimes it is necessary to edit a scene. One
can do this by cutting it down in length, or combining two short scenes into a
longer one or to delete references in a scene that are out of context with the
immediate matters at hand. Sometimes a little rewriting, if permitted by the
instructor, may be useful for “writing out” a minor character in the scene.
Sometimes you can adapt a scene from a novel or short story. (Picture yourself
as a practicing screenplay adaptor, for this is how many films began.)
2.) Once a script is fully edited, you and your
partner must obtain exact duplicate copies.
3.) You and your partner must agree on the context of
the scene. JR. Basic relationship of characters, what’s happening in the scene
intention/goal.
4.) You and your partner should read the scene once
or twice through, then start to memorize.
A. You must learn your lines exactly for six
reasons: (6)
1. It’s the
only way your partner can be sure about coming in on cue.
1.
Learning lines exactly
gives you a confidence in your role that you can
never have
if you’re fishing for an exact way to say something.
2.
Paraphrasing lines
weakens your role, you will tend to reduce your role to a
common
place character, rather than rise to the level created by the author.
3.
By paraphrasing, you
will probably defeat the author’s sense of timing and
diminish
the power of the play’s build, climaxes, and rhythmic effects.
5. You will
look bad in the eyes of those who know the play.
6. Finally, you
are insulting the author and the theater itself by your laziness.
B. Many actors prefer to learn their lines in rehearsal going through their parts “on book” (script in hand until the lines are embedded in memory. This common practice invites certain problems.
1. While going
through a part on book, you are not acting; you are reacting to the book, not
the situation, and your main contact is not with the actors but with the
script.
2. You may
pick up patterns and reading in this “Running through” that have nothing to do
with the interaction between you and your partner, but rather with your idea of
what is theatrical about your part.
C. Robert Cohen says you should memorize lines by
the following process.
1. Begin
by underlining or highlight your lines.
2.
Start reading text,
read aloud for your own part, to yourself for the other Actor’s part. Start with
a small section at a time.
3.
Cover up your line and
read the line above it, then say your line. Continue until memorized.
4.
At this point,
memorization is still shallow; it needs to be set. Lines tend to disappear
during intense scenes. Therefore, it’s necessary to set in a variety of ways.
JR. While jogging, cleaning bathroom, showering, etc.
Always learn your lines
from your partner’s cues. There are usually two cues for each line.
1. Action Cue - (Prompts you to
speak)
2. Line Cue -
(Actual cue you come in on.)
Example: Cathy - I thought you were
the one on the telephone. (Action)
Well,were you?(Action)
Tell me the truth!(Line)
Paul - Yes.(Action) It was me.
(Line)
Studying and
Rehearsing
Studying
-Studying is the private part of actor preparation; rehearsal is the
public part.
-Studying leads you to the character: what your character wants, fears,
expects, and is capable of trying. VOTE
-You do this entirely by yourself, but keep in mind director’s guidance.
Your acting partner is not your consultant; his or her concern should be their
character.
-The best acting scene will be the result of a dramatic confrontation
between individualism that must be nurtured in private: thus the importance of
private study.
Rehearsals are a wonderful opportunity to practice & develop the dramatic
confrontation between your character and acting partner’s character. Rehearsal
originally meant “re-harrow” or “cultivate the field again” French -repetition
Rehearsal is repetition until all the lumps are gone.
Rehearsal tips:
1. Begin by “running lines” /read through
2. Don’t try to act - but don’t be monotone
3. As you run lines, you will begin to slide into acting.
4. This sliding will help you discover yourself in your role.
5. As soon as comfortable run lines off book (try different locals or
activities to be sure to get imprinted into your brain (set lines).
6. Don’t try to analyze rehearsals -it causes scenes to lose
freshness.
7.
Never try to direct
your partner (this causes self-consciousness)
Note: The second quarter test is to be given at this
time.
Exercise 25 Scenes For Two (50pts)
Now it’s time to hand out scenes for two! In pre-selected pairs, hand
out a script from Great Scenes From The World Theater Volume 1. The
students will have a few weeks to do off book checks (making sure their lines
are memorized at the required stages), work on blocking, (where their
characters go and what they physically do on stage), and gather costumes and
props. They will also be required to turn in a VOTE on their character. These
scenes will not only be performed for the class, but also for other invited
classes. This is their first semester final.