Getting Actors out of Their Head.
Printed From: Community Theater Green Room
Category: Producing Theater
Forum Name: Directing
Forum Discription: For questions about handling shows, actors, crew, board members, children ...or do we repeat ourselves?
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=4585
Printed Date: 11/23/24 at 4:33pm
Software Version: Web Wiz Forums 8.05 - http://www.webwizforums.com
Topic: Getting Actors out of Their Head.
Posted By: OHReid
Subject: Getting Actors out of Their Head.
Date Posted: 4/25/10 at 7:49pm
I'm directing my first play in 15 years which is a short, and incredibly funny. However the entire show takes place seated. A couple is being interviewed by a woman. The cast was put together based upon great audition readings, and a prior staged reading of the play where they were fantastic.
First rehearsal comes around and I made 2 mistakes. First I turned the focus heavily on characterization, which might not be so heavy a focus in a short if there was more movement. Then I gave them boundaries of where I believed their characters could not go. For example, the interviewer can't be too bitchy.
So as a result of this focus on characters I have turned a comedy into a drama and I believe I have slowed down the progress of two of the actors in developing the great characters that I know they are capable of. With the third, I have been constantly baffled by the character ideas that he has come up with. (They don't come close to match the spirit of the play and have resulted in motivations that are puzzling and unrealistic to say the least.) I have since then told the actors that I erred in giving them those limitations, and asked them to disregard them. I have also worked with the third actor to get his character to make sense within the coarse of the script however, getting him to the same place emotionally is still a puzzle.
While we have started making progress on the show I believe that I have slowed it down from what it could be. Regardless of me asking them to disregard my limitations, I think they they are still out there. So I am looking for suggestions in two areas.
A: I believe all three actors to be too far in their own heads to let the creativity truely flow. I believe this to be especially true of actor number 3 who has never had serious acting classes. He requests exercises in which he says the same thing 5 different ways to figure out what feels best, which is fine, but I fear is hurting his character development and evolution.
B: I would like to essentially press the reset button for me while keeping what is good that the cast has found without telling them hey lets start over. I want to push them to develop REALLY rich characters that when played right will only make the show funnier.
I'm sure that this is a common problem, but basically I see so much potential here, and am worried that my inexperience is only standing in the way of making this show amazing. Luckily we have plenty of time to make this right. I welcome all thoughts and suggestions.
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Replies:
Posted By: POB14
Date Posted: 4/26/10 at 2:53pm
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Sounds to me - and it's hard to tell, without seeing them or even knowing what play it is - it sounds to me like you've got them playing emotions rather than objectives.
Are they clear on what they, as characters, each want from the others at every moment of the play? Do they know what the obstacles are, and what they need to do to overcome them?
Just because they aren't moving - and why aren't they? - but if they aren't, that doesn't mean they don't have actions. If the interviewer is "tearing information out of the man," she'll act differently than if she is "concealing the true nature of the interview." (Again, no idea what the play is, so I don't know what the actions are. But you do, and the actors should.)
Don't let them worry about "characters" and "line readings;" put the focus back on the action, and see where that takes you.
As a side note, I wouldn't tell an actor NOT to do something until he's done it - how do you know if her "too bitchy" might be your "exactly what I want" until you see it? Tell them what you DO want, and let them decide how.
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POB
Old Bugger, Curmudgeon, and Antisocial B**tard
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Posted By: OHReid
Date Posted: 4/26/10 at 6:06pm
Now that you mention it, I HAVE been focusing too much on emotions. I haven't used the word objectives in 2 or 3 rehearsals. Thats a great point.
Dont get me wrong there is SOME movement, entering, standing, etc . . . but in the scheme of things it is fairly minimal.
Yes, I wont likely be telling an actor not to do something ahead of time again.
Thanks for the great points.
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Posted By: SamD
Date Posted: 4/26/10 at 9:57pm
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Everyone, (including you) needs to relax a bit. Try having a little fun with it all. Switch up characters, give them accents, facial ticks.... fleas! Maybe when they start playing around the chemistry and rhythm will come.
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Posted By: JoeMc
Date Posted: 4/26/10 at 10:47pm
As it's just a 3 hander it may help if they rehearsed in front of mirrors, if you can orginise it?
I found this to work especialy with subtle comedies, as they get to view what the audience sees & how everyone reacts to each other. Remembering your view piont is representing that of the punters.
This also helps them indivuduay at home, by also rehearsing in front of say a dressing table mirror to pick up on thier own performance.
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[western] Gondawandaland
"Hear the light & see the sound!
TOI TOI CHOOKAS
{may you always play to a full house!}
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Posted By: OHReid
Date Posted: 4/27/10 at 3:05pm
Both great ideas, thank you. Our next real rehearsal is on Thursday, and I am truly excited about the fresh look and tools I can bring to build on what they have already done.
No mirrors really. But maybe a webcam recording? Again, thanks to everyone so far for the ideas, and I hope others will keep them coming.
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Posted By: TZine
Date Posted: 9/20/10 at 9:01pm
The characterization work you've done so far will definitely be valuable when the actors relax.
How old are the actors? If they're old enough, you should all go out for a few drinks. If not, go out for dinner. Give them the opportunity to relax around each other and not think and work so much.
I recently directed Neil LaBute's Bash, which, like your play, is very static, with almost no staging. Even thought it is a very heavy drama, my cast absolutely benefitted from time spent just hanging out with each other.
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