(Actor) Tools in the Toolbox
What's a more constructive piece of feedback for this note:
"Hey actors, you actually sucked and I can say that cause I am the director. I couldn't hear you except for the first half of the time!"
- ACKNOWLEDGE A STRENGTH- I could hear you all for the first half of the time
- CRITIQUE IN A NON/BIASED WAY- However, let's focus on keeping our projection for the whole time. I couldn't hear you very well the second half of the performance.
What is the blocking notation symbol for a character (let's say their name is Ambient)
A with a circle around it!
Define the term "off book." What does it mean?
DURING A PERFORMANCE-
Three people were randomly selected to perform a scene with the prompt of "being stuck on a high-up rollercoaster." However, when the scene began, only 1 person out of the 3 are fully committing to the scene. What concept/method are the remaining group members NOT following?
New director Mina doesn't know what kind of blocking or staging to do for a wedding. Give her some ideas- what TWO decisions could she make?
IDEAS- LEVELS (the people getting married on a higher level than the rest), FOCUS/POSITION (everyone facing towards married couple), STAGE PICTURE (center couple and the officiant, remaining group around them)
WHY are the left and right sides of the "HOUSE" (where the audience sits) and the stage (where the actors/performers live) different?
Stage- ACTOR'S PERSPECTIVE
House- AUDIENCES PERSPECTIVE
- Different perspectives means different sides
THIS vital term from the Stanislavski method entails the things an actor does TO achieve their goal. For example: bribery, coaxing others, sweet-talking, etc.
TACTICS
You must face your body/self towards the audience (body position, feet movement)
DOUBLE JEOPARDY: An actor is not understanding a very chill director's notes, as the director is choosing to make it up as they go. The actor thus chooses to not take the director as seriously as they should because of this and choose to do their own acting choices. What TYPE of director is best for this scenario AND WHY?
IDEAS-
PUSHER- Someone to challenge them in case they become "stagnant" AND provide more ideas for the actor.
DICTATOR- Someone to give them a tough love approach and hopefully snap them out of that unseriousness.
NONE- That actor needs to be gone from the production if they are choosing not to respect or take this with seriousness.
Give me a GOOD AND BAD example of rehearsal etiquette. What is a good way to use your time? What's an incorrect way to rehearse?
BAD IDEAS- Not using time properly, using the props incorrectly or rough-housing with another group members' items, fighting or being rude/sassy with partners.
Tell me 2 classroom rules/expectations.
EXAMPLES: No food/non-water drinks in the space, no jumping on/over chairs OR jumping to get on stage, be respectful to teacher & peers & space, don't talk when others are talking, come prepared, etc.
What does it look like OR mean to demonstrate an action with EXAGGERATED RESISTANCE in pantomime?
Demonstrating how heavy it could be or showcasing the size or shape of the actual item itself to give realism to gravity. (Lifting a heavy suitcase, pushing against an imaginary door, etc.)
You have an actor who is female- presenting and they wanted 2 roles- 1. A male-presenting role who has a decent amount of lines and/or 2.A female-presenting role who has only a few lines. She did okay at auditions for these, BUT am unsure. Make the best CASTING decision based on the info- what is the best plan IN YOUR GROUP'S OPINION?
IDEAS- Pick 1 role or the other & gender-bend; give a brand new role entirely; etc.
If a director tells you to go to downstage, WHERE on the stage do they want you to move?
Towards the front of the stage- downstage= moving down to the audience.
LABEL THE 9 PARTS OF THE STAGE
UPSTAGE LEFT, UPSTAGE CENTER, UPSTAGE RIGHT, CENTER, CENTER LEFT, CENTER RIGHT, DOWNSTAGE LEFT, DOWNSTAGE CENTER, DOWNSTAGE RIGHT
DOUBLE JEOPARDY QUESTIONS: There are 6 elements of the actor's toolbox. What are they AND give an example of how you could use EACH successfully!
(HINT: B, V, M, I, Con, Col)
1. BODY- Surprised gesture, angry facial expression, jumping for hyper, hunched over for an older character, slow movements for creepy characters.
2. VOICE- Yelling, aggressive tone, shaky/raspy voice, being "short" with others, accents.
3. MIND- Different places using different structure or times or accents; a parent moving differently based on age and emotions, etc.
4. IMAGINATION- Pretending to hold something heavy, acting sick/surprised even if not, not ruining the "magic"
5. CONCENTRATION- Don't break character, keep going if there's a flub, stay quiet backstage, be aware of cues.
6. COLLABORATION- "Yes, and" method, accepting offers and adding to it, being focused and present in the scene, etc.
Ms. Pearce is designing a show based a Greek mythology musical that is about two couples finding their way back to each other. But along the way, it becomes a tragedy- seasons change, relationships get tested, and our human curiosity comes out naturally. DECIDE ON A 1-6 WORD CREATIVE VISION & MAKE 2 DESIGN DECISIONS BASED ON THAT!
IDEAS- Humanity, change, mythology, etc.
IDEAS- Plan and write blocking, decide and share out creative vision, help actors make acting choices and decisions, give feedback, collaborate with designers to input your vision.
SPONGEBOB SQUAREPANTS has visited Sandy Cheeks' home FOR THE FIRST TIME without a full face tank of water. Break down SPONGEBOB's conflict using the 4 part Stanislavski method. (HINT: Obj, Obst, Sta, Tact)
OBJECTIVE- Wants/needs water OR to be friends with Sandy
OBSTACLE- Sandy's house is full of oxygen
STAKES- He stands to lose his life and/or Sandy's friendship
TACTICS- Some things he COULD do to achieve his goal- asking for water, stealing a water vase, calling a friend, etc.