1. Memorizing You CAN do it!

2. Precisely Perfect You must learn your lines exactly for six reasons: (6) 1. It’s the only way your partner can be sure about coming in on cue. 2. Learning lines exactly gives you a confidence in your role that you can never have if you’re fishing for an exact way to say something 3. Paraphrasing lines weakens your role, you will tend to reduce your role to a common place character, rather than rise to the level created by the author. What this means is that if you summarize what you are saying, you lose the specific voice that your character needs to have. What this means is that if you summarize what you are saying, you lose the specific voice that your character needs to have.

3. Precisely Perfect 4. By paraphrasing, you will probably defeat the author’s sense of timing and diminish the power of the play’s build, climaxes, and rhythmic effects. 5. You will look bad in the eyes of those who know the play. 6. Finally, you are insulting the author and the theater itself by your laziness.

4. The common method Many actors prefer to learn their lines in rehearsal going through their parts “on book” (script in hand until the lines are embedded in memory.) This common practice invites certain problems. Many actors prefer to learn their lines in rehearsal going through their parts “on book” (script in hand until the lines are embedded in memory.) This common practice invites certain problems. While going through a part on book, you are not acting; you are reacting to the book, not the situation, and your main contact is not with the actors but with the script. While going through a part on book, you are not acting; you are reacting to the book, not the situation, and your main contact is not with the actors but with the script. You may pick up patterns and reading in this “Running through” that have nothing to do with the interaction between you and your partner, but rather with your idea of what is theatrical about your part. You may pick up patterns and reading in this “Running through” that have nothing to do with the interaction between you and your partner, but rather with your idea of what is theatrical about your part.

5. A better way… You should memorize lines by the following process. 1. Begin by highlighting your lines. 2. Start reading text, read aloud for your own part, to yourself for the other Actor’s part. Start with a small section at a time. 3. Cover up your line and read the line above it, then say your line. Continue until memorized. line. Continue until memorized. At this point, memorization is still shallow; it needs to be set. Lines tend to disappear during intense scenes. Therefore, it’s necessary to set in a variety of ways. While jogging, cleaning bathroom, showering, etc. Just go over them at random times in random places. At this point, memorization is still shallow; it needs to be set. Lines tend to disappear during intense scenes. Therefore, it’s necessary to set in a variety of ways. While jogging, cleaning bathroom, showering, etc. Just go over them at random times in random places.

6. Cues Cues 1. Always learn your lines from your partner’s cues. There are usually two cues for each line. Action Cue - (Prompts you to speak) Line Cue - (Actual cue you come in on.) Example: Cathy - I thought you were the one on the telephone. (Action) Well,were you?(Action) Tell me the truth!(Line) Well,were you?(Action) Tell me the truth!(Line) Paul - Yes.(Action) It was me. (Line) The action cues are often referred to as “blocking.” Blocking tells you where you need to be when you say each line. This movement helps you remember your lines (When I sit, I’m at this line.) and vice versa (If I just said this, I should be here.)

7. Studying and Rehearsing Studying Studying Studying is the private part of actor preparation; rehearsal is the public part. Studying is the private part of actor preparation; rehearsal is the public part. Studying leads you to the character: what your character wants, fears, expects, and is capable of trying. VOTE Studying leads you to the character: what your character wants, fears, expects, and is capable of trying. VOTE -You do this entirely by yourself, but keep in mind director’s guidance. Your acting partner is not your consultant; his or her concern should be their character. -You do this entirely by yourself, but keep in mind director’s guidance. Your acting partner is not your consultant; his or her concern should be their character. -The best acting scene will be the result of a dramatic confrontation between individualism that must be nurtured in private: thus the importance of private study. -The best acting scene will be the result of a dramatic confrontation between individualism that must be nurtured in private: thus the importance of private study.

8. Rehearsal Rehearsals are a wonderful opportunity to practice & develop the dramatic confrontation between your character and acting partner’s character. Rehearsal originally meant “re-harrow” or “cultivate the field again” French -repetition Rehearsals are a wonderful opportunity to practice & develop the dramatic confrontation between your character and acting partner’s character. Rehearsal originally meant “re-harrow” or “cultivate the field again” French -repetition Rehearsal is repetition until all the lumps are gone. Rehearsal is repetition until all the lumps are gone. Rehearsal tips: Rehearsal tips: 1. Begin by “running lines” /read through 1. Begin by “running lines” /read through 2. Don’t try to act - but don’t be monotone 2. Don’t try to act - but don’t be monotone 3. As you run lines, you will begin to slide into acting. 3. As you run lines, you will begin to slide into acting. 4. This sliding will help you discover yourself in your role. 4. This sliding will help you discover yourself in your role. 5. As soon as comfortable run lines off book (try different locals or activities to be sure to get imprinted into your brain (set lines). 5. As soon as comfortable run lines off book (try different locals or activities to be sure to get imprinted into your brain (set lines). 6. Don’t try to analyze rehearsals -it causes scenes to lose freshness. 6. Don’t try to analyze rehearsals -it causes scenes to lose freshness. Never try to direct your partner (this causes self-consciousness) Never try to direct your partner (this causes self-consciousness)