RP needs to focus on the tune as much as pronunciation-- listen to tune/cadence when learning new accents. Forget American stress by lifting.
Standing further from scene partner allows you to switch between them and audience-- give yourself space.
Simple is easier to play, especially in a scene study-- can get more complex in objectives when playing the entire play, but bite-sized intentions are easier
WHY am I listing and what am I trying to accomplish? The why indicates the HOW to list-- when to take time, when to rattle on, etc. What is the most important?
To what extent have I worked on the scene or memorized it? Lists reveal this!
Why all the details except that they're important? Where do they rank-- do thoughts lead to the next idea? Momentum?
Don't let style overshadow the acting-- "The plays weren't written about style, they're written about PEOPLE." So what are the people actually saying?
JUST TALK TO EACH OTHER - no need to up the style unless the text requires it!
It always comes back to the text. Let it serve me!
Learning the lines allows you to play and be exactly present-- mere memorizing makes it difficult to explore and take direction in the moment.
- Does our programme/cohort need more text analysis work? YES. Can it be integrated into contextual studies? Acting class? Would lead to better discussions and better self study.
BE BRAVE-- do what makes you uncomfortable. "I don't know anyone in training who is brave enough." DO NOT BE AFRAID TO EMBARRASS YOURSELF.
Don't wait for a director to tell you what to do-- always OFFER, but be open to change. Can't be precious about choices!
WHY you're saying something is as important as knowing WHAT you're saying-- TAKE TIME TO STUDY. Keep track of your questions as you learn lines-- embody your lines, don't just wing it!
"If you want an easy job, work in a call center."
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