I’m learning lines again.
Autumn season is upon us and that means another splendid
production by The Canterbury Players is around the corner. Which means I get to
force people to pay money to pay attention to me. Yay! Having appeared in a smasher of a show at The Marlowe Studio
in the summer, I was offered the role off Hannah in Tom Stoppard’s masterpiece,
Arcadia, which will play at The Gulbenkian from 4th to 7th
November and is directed by lovely Becky aka Miscriant.
Ahhhh Stoppard. Stoppard.
Oh Christ, I’ve just realised something…….he’s good, isn’t
he?
I mean, like, really good. Like, Shakespeare good. Like all his words actually mean something. The kind of words that help the people in the audience on tenuous dates to have sex with each other because the script composition is so witty and so brilliant that you feel like nothing in your life that will ever be as beautiful or as beguiling so you may as well just have sex because you sort of know you’re good at that and why not just attempt to be okay at something for 15mins?
I mean, like, really good. Like, Shakespeare good. Like all his words actually mean something. The kind of words that help the people in the audience on tenuous dates to have sex with each other because the script composition is so witty and so brilliant that you feel like nothing in your life that will ever be as beautiful or as beguiling so you may as well just have sex because you sort of know you’re good at that and why not just attempt to be okay at something for 15mins?
Yes, that level of good.
 |
| This is Ben's script because I left mine in a car. And I wrote a phone number on it when I couldn't find a pad. I think it's the number for Port Lympne Reserve. Visit it, it's nice |
Arcadia is indeed a masterpiece, intertwining literature, sex, thermo-dynamics, gardening, academia with his usual biting humour and yes, blah blah blah the words the words are wonderful, well I HAVE TO LEARN THEM OKAY?!
But it's okay, I've developed a fool proof system of notes. Some
of you dear readers may be amateur thesps yourselves, or perhaps you harbour a
secret desire to tread the boards.
Well to help you on your way, I’ve decided to share some of
my private script notes – my method, if you will – so you might learn from my
experience.
Acting is about knowing when to act. It's important to remind yourself of this.
You will need to be on stage almost every time that your character is on stage. It's best to hover by the wings, making sure that you don't go on without you.
Physical acting can be challenging and confusing.
I should have learned the dates earlier because I sure as hell haven't been saying these ones. I swear, I think at some point I said '1732 to 1485' in rehearsal.
Yep, lots more of that.
Oh Jesus, that's a lot of words. Ohhhhhhh I should really look these people up.
And also look inquisitive. Look and speak inquisitively when asking questions. And yell. Always yell questions.
You will need to be on stage almost every time that your character is on stage. It's best to hover by the wings, making sure that you don't go on without you.
Physical acting can be challenging and confusing.
I should have learned the dates earlier because I sure as hell haven't been saying these ones. I swear, I think at some point I said '1732 to 1485' in rehearsal.
Yep, lots more of that.
Oh Jesus, that's a lot of words. Ohhhhhhh I should really look these people up.
And also look inquisitive. Look and speak inquisitively when asking questions. And yell. Always yell questions.
In all seriousness, here are some actual am dram tips. (If
you’re a pro, go way you’re getting paid get back to your script and your
roasted swan)
TAKE AWAY THE SAFETY
NET
Try putting your script down sooner than you’d like, and lose the prompt (if you have one) for a couple of rehearsals close to curtain up. It feels uncomfortable, but it’s supposed to. If your lines are not in your head and others are waiting for their cues, it’s painful. But one thing that's sure to make me learn my lines is the fear of looking unprofessional in front of others
TAKE STOCK
Reread everything YES THAT INCLUDES THE BITS YOU AREN’T IN. All too often we focus solely on our own roles. You can't let that shit fly. Every character, every scene, informs on the next, and you better know it inside out. That's why it's a play.
Try putting your script down sooner than you’d like, and lose the prompt (if you have one) for a couple of rehearsals close to curtain up. It feels uncomfortable, but it’s supposed to. If your lines are not in your head and others are waiting for their cues, it’s painful. But one thing that's sure to make me learn my lines is the fear of looking unprofessional in front of others
TAKE STOCK
Reread everything YES THAT INCLUDES THE BITS YOU AREN’T IN. All too often we focus solely on our own roles. You can't let that shit fly. Every character, every scene, informs on the next, and you better know it inside out. That's why it's a play.
TAKE A LESSON FROM
HOPKINS
You can never know your lines enough. It's an old acting
cliche that you have to know who your character is, inside and out, but the
reason it's hammered home so often if that it's not an easy job.
Anthony Hopkins reportedly examined his lines up to 200
times until he didn’t even have to think about ‘saying a line’ any more. He
just knew his character completely.
Are you better than Anthony Hopkins? ARE YOU?
Are you better than Anthony Hopkins? ARE YOU?
AND FINALLY…
NEVER, EVER FORGET YOUR LINES. Not for one second. Every
horrifying feeling you have about the world collapsing if you forget a line is
true: if you drop a line you’re AWFUL and the world will burn and people will laugh at you. What kind of person can’t even learn a words without having to hold an itty
bitty piece of paper to help them?!! LEARN YOUR DAMN LINES.
.......Oh I kid, I kid! You’ll be fine, tiny darlings. Acting is not that scary really.
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