Adult On-Camera Acting
Tuesdays 7:30-9:30
Hello All,
It was great getting to know you all as a group in class. I think we are going to have a great time and I look forward to working with you throughout our time together.
This page will provide you with access to the exercises, assignments and information we will cover in class. If you are unable to join us for class, you can always do the work at home (because you won't be going many other places).
It was great getting to know you all as a group in class. I think we are going to have a great time and I look forward to working with you throughout our time together.
This page will provide you with access to the exercises, assignments and information we will cover in class. If you are unable to join us for class, you can always do the work at home (because you won't be going many other places).
Week 1
We will be working with monologues for the coming classes. You can use one you already know or find a new one to explore in class.
Once you have a monologue, please do the soaking exercise.
Here is an explanation of how it works.
Here is a written explanation by George Morrison
Once you have a monologue, please do the soaking exercise.
Here is an explanation of how it works.
Here is a written explanation by George Morrison
| soaking_exercise__1_.pdf |
Once you have completed this exercise, divide the monologue into three beats: the beginning, middle and end. These divisions may change as you begin working on the monologue, so don't fret too much about it now.
Monologues
This is the first round of monologues. Do not feel obligated to watch. They are here so we can compare our work once we are done with the 6 weeks. Unfortunately, I only have the second half of Bree's monologue, but it is still very enjoyable!
Week 2
For next week's class, please identify the dynamic of the relationship with the person you are talking to in the monologue. Once you have done that, pick a person in your life (preferably from the past) that best fits that dynamic. Then do the following exercise using this person as your focus. When you have finished, write down the "trigger" that was a result of the exercise.
| felt_sense_acting_exercise.m4a |
Week 3
Greatest Hope and Greatest Fear
For next week, identify the GREATEST HOPE and the GREATEST FEAR your character has when they begin the monologue. This hope and fear is usually connected to the person they are speaking to and what they need from them, so if you are having a hard time thinking of a hope and a fear, perhaps you should explore changing who you are speaking to.
Example: Using Brigette's monologue from Handmaid's Tale
If I am talking to a friend, my greatest hope may be that they comfort me and tell me I am wrong to think the way I do. My greatest fear may be that they reject me and tell me I am worthless.
HOWEVER
If I choose to talk to the person who will decide my fate, my greatest hope may be that they see me as strong and defiant despite what has happen or that I am forgiven and my greatest fear could be that speaking out won't make a difference for the women who come after me.
Each one of these hopes and fears would create a very different experience in the monologue. I would recommend writing down a few different version and we can work on them in class.
Example: Using Brigette's monologue from Handmaid's Tale
If I am talking to a friend, my greatest hope may be that they comfort me and tell me I am wrong to think the way I do. My greatest fear may be that they reject me and tell me I am worthless.
HOWEVER
If I choose to talk to the person who will decide my fate, my greatest hope may be that they see me as strong and defiant despite what has happen or that I am forgiven and my greatest fear could be that speaking out won't make a difference for the women who come after me.
Each one of these hopes and fears would create a very different experience in the monologue. I would recommend writing down a few different version and we can work on them in class.
Monologues
Here are the monologues this week. Enjoy!
Week 4
Working through the monologue sentence by sentence, apply the vocal variations one "element" (pitch, staccato/legato, speed, etc.) at a time. Do the entire monologue focusing on one element, and then go through again focusing on a different element.
Here is the audio explanation:
Here is the audio explanation:
| vocal_variations.m4a |
Here is a visual aid with a way to approach the variations and sub-modalities that we will focus on in class.
| vocal_variations.pdf |
Monologues
Here are the monologues working with greatest hope and greatest fear.
Week 5
Vocal Variations
This week we worked on applying vocal variations to the monologues. If you want to explore this further, you can choose one modality (pitch, continuous/discontinuous, etc.) and assign a sub-modality (high to low, low-high-low, all high, etc.) for each section of your monologue (beginning, middle, end). This can be a useful way to differentiate between the emotional states or highlight the most important part of the monologue (the event).
Moment Before
Thinking of the line before the monologue starts will help ground you in the circumstances of the story (whatever you choose them to be) and allow you to react instead of acting in a vacuum. You can change the lines depending on what sort of story you want to tell with the monologue. Below is the exercise. Take note of HOW you changed with each line and if you didn't, explore ways that you could have.
And last, but not least... Michael's Monologue!
Week 6
Worked with the monologues one final time before moving on to scenes. We did the three steps to integrate voice, body and inner life, then performed the monologues for the group. Below are the monologues. It might be fun to compare them to the first time to see the growth/ differences.
The five-step monologue exercise
For those who were not there or would like to do the exercise again, here is a description:
1) Say the monologue once through without a specific focus
2) Repeat the monologue focusing on using the VOICE as the primary mode of expression. Imagine that your voice was the only way the audience could understand the story. Use all the vocal variations to get the story across. your body and face can follow the voice and move freely.
3) Repeat the monologue focusing on using the BODY as the primary mode of expression. Imagine your audience can now only understand the story through your movements. This does not mean you pantomime or sign, instead, allow your body to move freely and use it to tell the story. The voice and face can follow.
4) Repeat the monologue staying INSIDE throughout. This can be through of as similar to the second step in the soaking exercise. You can make associations and create referents, but try not to go outside to connect with your partner. The voice and body will be primarily still during this step.
5) Do the monologue one more time incorporating what you discovered during the previous steps. This does not mean you decide what you want to keep and force yourself to do those movements or vocal choices, instead, allow the previous steps to inform you spontaneously. Also include your relationship trigger, moment before and greatest hopes/fears as seem appropriate and to your ability.
1) Say the monologue once through without a specific focus
2) Repeat the monologue focusing on using the VOICE as the primary mode of expression. Imagine that your voice was the only way the audience could understand the story. Use all the vocal variations to get the story across. your body and face can follow the voice and move freely.
3) Repeat the monologue focusing on using the BODY as the primary mode of expression. Imagine your audience can now only understand the story through your movements. This does not mean you pantomime or sign, instead, allow your body to move freely and use it to tell the story. The voice and face can follow.
4) Repeat the monologue staying INSIDE throughout. This can be through of as similar to the second step in the soaking exercise. You can make associations and create referents, but try not to go outside to connect with your partner. The voice and body will be primarily still during this step.
5) Do the monologue one more time incorporating what you discovered during the previous steps. This does not mean you decide what you want to keep and force yourself to do those movements or vocal choices, instead, allow the previous steps to inform you spontaneously. Also include your relationship trigger, moment before and greatest hopes/fears as seem appropriate and to your ability.
On-Camera Scenes
Week 1 - Co-stars
This week we worked with co-star roles, also known as "Under 5's". Below are the steps to help you prepare for these roles while not over-preparing:
1) Identify the genre.
2) Read the ENTIRE script - even the parts that are crossed off in case there is information that will help inform the scene you are doing.
3) Ask the question: What is the function of my scene/s?
The function is usually one of the following:
1) Identify the genre.
2) Read the ENTIRE script - even the parts that are crossed off in case there is information that will help inform the scene you are doing.
3) Ask the question: What is the function of my scene/s?
The function is usually one of the following:
- Moves the plot forward
- Heightens the main character (or major character's) dilemma or triumph
- Illuminates an aspect of a major character's personality for the audience
- Shows the audience the world in which the story takes place
- Any combination of the above
Note: The function may not be obvious, but you should consider it because it reminds you that the scene in not about YOU.
4) Ask: How would I act in this situation?
While how you would react in the situation may not be appropriate for the genre or the character, it is important to understand what reaction is closest to you. It creates a foundation and a jumping off point for the subsequent explorations. You may also find that this choice ultimately is the best one. Co-star characters should feel as natural as possible and if you can show up and be you, what is more natural than that?
5) Find 3 or 4 additional ways to approach the scene and/or the character.
This could be changing status, interacting with the environment in different ways, seeing your position or the other character in a different way, etc. While you explore these choices, don't worry about whether it will "work" think of it more like a brainstorming session.
NOTE: While anything can work when exploring choices, keep in mind that any choices you ultimately choose need to connect to back to the page/ the script. Don't create a backstory that has no connection to what is on the page. That will be confusing. Any choice needs to make sense within the context of the scene.
6) Read the breakdown
Yes! Do not read this until AFTER you have done your brainstorming. The breakdown will only limit your work and very often the breakdown changes.
7) Choose your performance based on a combination of what is appropriate for the genre, what best fits the character breakdown and what feels best or most natural to you. The best way to play the scene falls somewhere in the space where those three elements overlap.
NOTE: You may have to make adjustments to the performance to honor the breakdown. This could be a status shift, the costume you wear or other physical/emotion adjustments.
8) Have FUN!
4) Ask: How would I act in this situation?
While how you would react in the situation may not be appropriate for the genre or the character, it is important to understand what reaction is closest to you. It creates a foundation and a jumping off point for the subsequent explorations. You may also find that this choice ultimately is the best one. Co-star characters should feel as natural as possible and if you can show up and be you, what is more natural than that?
5) Find 3 or 4 additional ways to approach the scene and/or the character.
This could be changing status, interacting with the environment in different ways, seeing your position or the other character in a different way, etc. While you explore these choices, don't worry about whether it will "work" think of it more like a brainstorming session.
NOTE: While anything can work when exploring choices, keep in mind that any choices you ultimately choose need to connect to back to the page/ the script. Don't create a backstory that has no connection to what is on the page. That will be confusing. Any choice needs to make sense within the context of the scene.
6) Read the breakdown
Yes! Do not read this until AFTER you have done your brainstorming. The breakdown will only limit your work and very often the breakdown changes.
7) Choose your performance based on a combination of what is appropriate for the genre, what best fits the character breakdown and what feels best or most natural to you. The best way to play the scene falls somewhere in the space where those three elements overlap.
NOTE: You may have to make adjustments to the performance to honor the breakdown. This could be a status shift, the costume you wear or other physical/emotion adjustments.
8) Have FUN!
COMEDY
Week 2 - Cold Reads- Single Camera Comedy
Week 3 - Adding Environment and Activities
Here are the comedy scenes from week 3. ENJOY!
Week 4- Multi-Camera Comedy
| multi_vs._single_camera.docx |