Acting Theatre Resources
Places to Find Monologues DO NOT just do a Google or other search engine search for monologues. All monologues for class and Thespian events must be from PUBLISHED plays. These sites below provide published plays. There are publishers not on this list, but these sites offer published plays for your reference. Some offer free samples. These are also on the approved list of play publishers.
www.broadwayplaypublishing.com
Creating Character
What is characterization? Characterization is the creation of character through voice, movement, personal research and textual analysis.
Different Tips and methods to creating character.
MORE CHARACTER ANALYSIS OPTIONS
Character DOs and DONTs
DO:
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Read the script!
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Research.
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Take time to do more than memorize! Look for different objectives
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Take risks!
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Listen!
DON'T:
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Don't just read lines with feeling.
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Don't just go up and "wing it."
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Don't "play emotions."
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Don't employ stereotypes.
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Don't just take. Give.
Acting Techniques: There are several different methods to creating character developed by a range of teachers. It is up to the actor to decide which method is write for them.
For a general overview of the major methods and the actors who use it. CLICK HERE.
They include
Constantin Stanislavski: Known as the method, Stanislavski is considered the father of modern acting. His approach incorporates spiritual realism, emotional memory, dramatic and self-analysis, and disciplined practice.
Lee Strasberg: Strasberg took Stanislavski's method and adapted it, it encourages actors magnify and intensify their connection to the material by creating their characters’ emotional experiences in their own lives.
Stella Adler: Adler studied under Strasberg but modified the system to emphasize imagination in addition to emotional recall.
Sanford Meisner: Meisner worked with Adler and Strasberg. Meisner taught his students to “live truthfully under given imaginary circumstances.” His approach is an imminently practical one; his famous repetition exercise, in which two actors sit opposite each other and respond in the moment with a repeated phrase, breaks down overly structured technique and builds openness, flexibility, and listening skills.
Michael Chekov: Chekhov pioneered a psycho-physical approach to acting, focusing on mind, body, and a conscious awareness of the senses.
Practical Aesthetics: This method was developed by William H Macey and David Mamet. It involves a four-step scene analysis that simply focuses on pursuit of an action; actors are taught to focus on what is literally happening in the scene and what is desired of the other characters.
Uta Hagan: Her popular technique emphasizes realism and truth above all else; “substitution” (or “transference”) encourages actors to substitute their own experiences and emotional recollections for the given circumstances of a scene.
Viola Spolin: Used theatre games to live in the moment and respond quickly and truthfully to their present circumstances.
Theatrical Movement
Theatre movement is not just moving around the stage, although your location on the stage and how you move around is a vital part.
Movement is also your relationship to other characters on stage.
Movement is also how you create posture on stage.
Movement is also where you are putting your focus while you are on the stage.
There are seven major methods for movement acting.
Voice in Theatre
Voice is often evaluated on the performer's ability to project, articulate, intonate as well as other tools used to reflect the character's emotions and the subtext of what is being said.
Projection is the ability for the actor to speak loudly (and clearly) enough to be heard. On stage a whisper is much louder than a traditional whisper.
Projection tips and exercises.
Articulation is the ability of the actor to speak clearly and be understood. This includes a general understanding of how words should sound through the International Phonetic Alphabet and taking the time to speak in a way that emphasis the proper sounds in a word.
International Phonetic Alphabet
Intonation generally deals with the pitch of the voice, which looks at the more than pitch when singing. This sometimes comes into play to imply emotions or questions. How lines are said can change the meaning, like raising the pitch at the end makes a statement a question.
Other aspects of voice that emphasize the character and their emotions and subtext
Accents/Dialects: Dialects deal with word choice and are more specific, Accents are more of the general sounds.
Common accents to learn, British, Southern, New York (Brooklyn), and American Standard. Many resources can be found online for how to speak certain accents.
Rhythm/Tempo: If you speak too fast you cannot be understood. If you speak to slow it can get tough to stay with what you're saying. You rhythm and tempo are often closely related to your emotions.
Tone: It is not just what you say but how you say it, be mindful of how things can be perceived.
Inflection: Which word is the most important of the line, make sure the focus is put in the right spots.
The DOs and DONTs for your voice according to vocal coach Kristin Linklater.
Other Resources
Theatre History
ANCIENT THEATRE
MEDIEVAL/RENAISSANCE
RESTORATION
EARLY AMERICAN
BROADWAY/MODERN
