Professional Documents
Culture Documents
Teacher’s
Edition
Perfection
Learning®
TE_FM_Final PGS 9/22/03 2:46 PM Page vi
Contents
Introduction: Welcome to Drama Class! . . . . . . . . . . . . . . . . . . . . . . . v
Chapter 2 Observation . . . . . . . . . . . . . . . . . . . . . . . . 12
Project: Give a Detailed Description of an Object
Spotlight on: Peer Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Theatre Then and Now: Stanislavski’s System/The Actors Studio . . . 18
Chapter 3 Pantomime . . . . . . . . . . . . . . . . . . . . . . . . . 20
Project: Plan and Present a Pantomime of an Activity
Master of the Craft: Marcel Marceau . . . . . . . . . . . . . . . . . . . . . . . 29
Theatre Then and Now:
Kabuki of the 1600s/Kabuki Interpretations Today . . . . . . . . . . . . 30
Chapter 4 Improvisation . . . . . . . . . . . . . . . . . . . . . . 32
Project: Improvise a Scene with a Partner
Career Focus: The Improv Group . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Spotlight on: Audience Etiquette . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Theatre Then and Now: Commedia Dell’arte/The Second City . . . 38
Unit One Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
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Creating a Character . . . . . . . . . . . . . . . . . . . . . . . . 88
Unit
Three Chapter 9 Character Analysis . . . . . . . . . . . . . . . . . 90
Project: Create Characters and Improvise a Scene with a Partner
Theatre Then and Now: Ibsen and Miller—Appointment
with Humanity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
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Contents
Chapter 11 Dramatic Roles . . . . . . . . . . . . . . . . . . . 112
Project: Write and Perform a Dramatic Scene with a Partner
Spotlight on: The Worst Romeo Ever . . . . . . . . . . . . . . . . . . . . . . 119
Master of the Craft: Kenneth Branagh . . . . . . . . . . . . . . . . . . . . . . 121
Theatre Then and Now: A Role for All Eras—Hamlet,
Prince of Denmark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
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Contents
Chapter 21 Costumes . . . . . . . . . . . . . . . . . . . . . . . . . 264
Project: Prepare and Present Costume Designs for a Character
Career Focus: Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Master of the Craft: Julie Taymor . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Theatre Then and Now: The Art of Costuming—
The Middle Ages/Today . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
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Contents
Unit Exploring Theatre History . . . . . . . . . . . . . . . . . . 398
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Contents
Scenes for One Man and One Woman . . . . . . . . . . 459
The Imaginary Invalid by Molière . . . . . . . . . . . . . . . . . . . . . . . . . 459
The School for Scandal by Richard Brinsley Sheridan . . . . . . . . . . 461
A Marriage Proposal by Anton Chekhov . . . . . . . . . . . . . . . . . . . . . 464
A Doll’s House by Henrik Ibsen, translated by Michael Meyer . . . . 467
Blood Wedding by Federico Garcia Lorca . . . . . . . . . . . . . . . . . . . . 470
Driving Miss Daisy by Alfred Uhry . . . . . . . . . . . . . . . . . . . . . . . . . 473
Weebjob by Diane Glancy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
FOB by David Henry Hwang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Spinning into Butter by Rebecca Gilman . . . . . . . . . . . . . . . . . . . . 481
xiv
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9 Scenes for Mixed Groups . . . . . . . . . . . . . . . . . . . . . . . . 511
9 Macbeth by William Shakespeare . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
1 Blithe Spirit by Noël Coward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
4 The Dining Room by A . R . Gurney, Jr . . . . . . . . . . . . . . . . . . . . . . . . 517
7 A Raisin in the Sun by Lorraine Hansberry . . . . . . . . . . . . . . . . . . . 520
0 The Actor’s Nightmare by Christopher Durang . . . . . . . . . . . . . . . . 525
3 A Waitress in Yellowstone by David Mamet . . . . . . . . . . . . . . . . . . . 529
6 A Star Ain’t Nothin’ But a Hole in Heaven by Judi Ann Mason . . . 534
8 “Baucis and Philemon” from Metamorphoses by Mary Zimmerman . 537
1 Promenade by Maria Irene Fornes . . . . . . . . . . . . . . . . . . . . . . . . . . 540
How I Learned to Drive by Paula Vogel . . . . . . . . . . . . . . . . . . . . . . 543
Icarus by Edwin Sánchez . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
4
7
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
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Chapter 9 Chapter
On Your Feet
After the interview, Theatre Terms internal traits characteristics that make
have each student write a character up personality
description of himself or herself for artistic selectivity selecting the optimum
amount of information necessary to motivation reason for a behavior or action
a dramatic or comic play based on
the partner’s interview notes. Tell portray a character objectives goals or needs
students to use vivid language that conflict dramatic opposition of the obstacle anything that gets in the way of
will stimulate the imagination of the protagonist with society, peers, or reaching an objective
actor playing the role. Have the class himself/herself
outcome result
mix up the descriptions and read dual role the two aspects of acting: the
them aloud, guessing whom each stakes level or degree of importance in
actor-as-character and the actor-as-actor
description is based upon. getting objectives met
external traits characteristics that make
up physical appearance
PREVIEW
The Actor and the Character
PREVIEW Actors have a unique artistic advan-
The Actor and the Character This may sound like a demanding job— tage over many other artists: They
As an actor in a play you have a and it is. But characterization shouldn’t require no canvas, paint, paper, or
dual role. You are both the actor-as- be a strain. Relax and enjoy the process as other tools of the trade. All an actor
character and the actor-as-actor. If you you create a believable individual onstage. really needs is his or her own body—
are to be convincing onstage, you must and the ability to move, speak, and
use your imagination—and the work Developing the Character think. Let students know from the
you’ve done analyzing and developing To be an effective onstage presence you start that acting is certainly gratifying
your character—to maintain your belief will need to know hundreds of things and exciting work, but it is also very
in what you as the character are doing, about your character—much more demanding— and often difficult.
feeling, and saying. You should think as than you will actually be able to portray Acting requires hours of hard physical
the character thinks and concentrate on onstage. Your job then becomes one of and emotional dedication and a great
fulfilling his or her goals, or objectives. artistic selectivity. What are the really deal of discipline—the result of
On the other hand, as an actor you important aspects of this character? which, ironically, should be conveyed
must maintain technical control and a How can you effectively communicate in a relaxed and seemingly effortless
professional attitude at all times. None the essentials of the character? At the way. What separates the good actor
of your performing will matter if the same time, remember that none of the from the great actor is how well he
audience has trouble seeing or hearing work you do while developing your or she can use the imagination to
you. You the actor and you the character character is wasted. The more you make a character live and breathe.
must work as a unit to create the delicate know about the character, the more
balance of believable characterization. textured your performance will be. Developing the Character
And you must harness your character’s Suggest to students that instead of
emotions and avoid overacting, which asking how much they can do with
offends both the audience and your their parts to decide how little they
fellow actors. can do and still communicate the
necessary ideas and emotions. Instill
in them the belief that as artists
creating a role, they must:
• Select
• Combine
• Discard
Vocabulary Enhancement
Julian Glover and Alan Doble create distinctive Theatre-goers and critics alike
characters in the Piccadilly Theatre production often speak of a fine actor’s stage
of Waiting for Godot. presence, which is the ability to
seem perfectly at ease onstage,
Chapter 9 Character Analysis 91 as if he or she belonged there.
Handbook Connections
pages 551-553
To play the title role in Mary Stuart convincingly, actor Jenny Bacon must Place five chairs in a
convey the motivation and obstacles faced by the Scottish queen. row in the playing area and ask five
students to sit down. Ask them to
A character’s external traits have to do 3 Mannerism Does the character experiment with different postures
with outward appearance and what that have any tics or little habits that that reveal character. Have the class
appearance says about him or her. Here provide keys to his or her personality? suggest what each posture tells them
are some external traits to think about. Examples might be nail biting, about the person.
gum chewing, head scratching,
1 Posture Does the way the character
or table tapping. Invite other students to
sits and stands suggest confidence,
timidity, awkwardness, or grace? 4 Voice Does the character have a be seated, and add an environment
specific regional dialect or any vocal and circumstances to the mix, such as
2 Movement and gestures Does the waiting in a hospital waiting room or
mannerisms?
character’s movement and gait reveal a police station. Each person in a chair
poise, nervousness, weakness, or 5 Mode of dress Is the character’s
creates the posture based on one sen-
strength? What does the character’s appearance neat, casual, prim, or
tence that represents his or her char-
movement reveal about his or her sloppy? Are the clothes clean or
acter, i.e. “I’m very worried about these
age, health, or general attitude? dirty? Are they in good taste?
headaches” or “Keep clear, I’m tough.”
Advanced Students
Chapter 9 Character Analysis 93
Add more dimensions to the seated
characters. Two are from the South,
one is from England, one has a pecu-
liar habit, and so on. Continue to
challenge advanced students to create
characters whose actions reveal both
Friedrich Schiller’s 19th-century play, • In what way does the character’s attire internal and external characteristics.
Mary Stuart, brings to the stage the last suggest who she is?
three days of the life of Mary, Queen of Advanced Students
• Does the character exhibit the bearing
Scots. Imprisoned for eighteen years in Ask students to choose two or three
of a queen? Explain.
England, she was finally beheaded for her gestures they have seen people make
supposed involvement in an attempt on • What does the actress’s posture and memorize them so that they have
the life of Queen Elizabeth I. The play suggest about the queen’s a “choreography of gestures.” When
revolves around Mary and Elizabeth and circumstances? they are ready, ask these students to
their followers, who exhibit different show their choreography of gestures
perspectives on almost every important • Imagine that you are Queen Elizabeth I to the class. Discuss the characters
idea of their age. standing before Mary Stuart. How would created by these gestures.
you approach her? What might you say?
PREPARE
Create a High-Stakes Scenario
Show, Don’t Tell As you discuss some PREPARE
aspect of the work involved for this Create a High-Stakes Scenario
chapter, incorporate a mannerism of You are now going to work with a part-
some kind, such as biting a lip or ner to improvise a scenario in which the
wrinkling your nose. Do not indicate stakes are high for each of your charac-
that you are upset in words but by ges- ters. You will need to think of a situa-
ture or manner alone. Continue until tion in which two characters come into
students indicate in some way that conflict over a physical object of some
they are aware of this physical tic. Ask kind (perhaps a bag of money, a legal
them to discuss what they thought as document, or a treasured family heir-
you repeated this movement. What did loom). Decide when and where your
it reveal about you and what you scene takes place and what the relation-
might be feeling or thinking? ship between your characters should be.
Discuss with the class the scenario for Mannerisms Then nail down a bit of their shared
can tell a lot When analyzing and developing a char- history (if any). Write down everything
two siblings presented on this page.
about your acter’s external qualities, you’ll want you decide upon. Here’s an example:
Does it have a familiar ring? Which sib-
character. to avoid stereotypes. For example, you
ling do they think should realistically Scenario for Two Siblings
don’t necessarily want to choose a car-
come out on top, and why? Suggest Characters: Rita and Joe
toonlike drawling “hick” voice simply
ways in which disagreements over the Relationship: Sister and Brother
because your character is supposed to
outcome of this scenario might be Ages: Rita is 15; Joe is 14
be uneducated. Try to make the more
resolved, including tossing a coin, ask- Situation: Rita desperately needs to use
interesting, less obvious choice.
ing an arbitrator, compromising on the the telephone; Joe is searching an
time each uses the line, or giving up online Web site and has been tying up
use of the phone line altogether. Have the phone line for an hour.
students suggest other possibilities. Time of year: Just after Thanksgiving
Theatre Journal
Encourage them to be willing collabo- Time of day: 10 P.M.
Go to a public place such as a
rators as they exchange ideas with museum, a park, or a mall. Sit
their partners for their own scenarios. down on a bench and do a bit Decide which character will ultimately
of people watching. Take note achieve his or her objectives. This will
Have pairs of students of the way people walk and serve as the outcome of the scene. DO
face one another. Ask them to choose the expressions on their faces. NOT determine what your characters
two opposite words, such as sum- Imagine what the lives of these will say and do in the scene ahead of
people might be like. Choose one
mer/winter or big/small. Each of them time—you are to improvise your
passerby to use as the basis for
has one minute to describe to the a character. Write a history actual exchange.
other all the positive aspects of one of for this character. Use what
these words. Then each has two min- you see and your imagination to
utes to explain to the class why their create a rich character study.
word is a better one. Students should
use as many tactics as possible to win.
94 Unit Three Creating a Character
Theatre Journal
Use the following as an additional
or substitute prompt. Have students look at the picture at • What does the posture of the student on
the top of the page. Use the following the right indicate about her?
Ask students to use their character prompts.
studies to present a short scene in • What other habit might someone have
which their character introduces • What does the mannerism of the involving glasses?
himself or herself. student on the left tell you about him?
PRESENT
Perform Your High-Stakes Scene
It always helps to add a time limit to PRESENT CRITIQUE
a scene in order to heighten the Perform Your High-Stakes Scene Evaluate Your Classmates’ Scene
stakes and the feeling of urgency. When your or your partner’s name Choose one of the scenes presented and
You might want to watch the presen- is called, give your lists or Activity evaluate it on a scale of 1 to 5, with 5
tations with watch in hand, letting Sheets to your teacher. Then take a being “outstanding” and 1 being “needs
the actors know when they have four, few moments to set up your scene much improvement.” Your critique
three, two, and then one minute left (arrange chairs if you need them, should answer these questions:
to achieve their goals. Tell students to for example). Do not rush.
• How old were these two characters?
create for themselves a motivation for
Remember to keep the stakes high
the time limit, for example, in the sce- • What was their relationship to one
with the choices your character makes
nario on page 94 it might be that the another?
during the scene. If one method doesn’t
siblings have only a few minutes until • What was each character’s objective?
work, try another. Each character must
their parents get home and end their
work hard to achieve the goal. When • How high were the stakes for each
confrontation.
you perform your scene, you will no character?
It might also be helpful to coach doubt find out things about the other
students into trying different tactics character that you didn’t know. You • What did each character do to get
or working harder to reach their must respond to these things in the what he or she wanted?
objective as they work through their moment. Try to make everything clear • Which character got what he or she
scenes. Remind them also to be sure within the scene. You will not be using wanted—and how was this achieved?
they respond to the other character’s an introduction for this activity.
demands, and so on. • Did one character appear stronger
Remember to keep yourself open to the than the other? If so, in what way?
audience, both physically and emotion-
Write a paragraph detailing the reasons
ally as you perform your scene. When
for the score you gave.
CRITIQUE you have finished your scene, turn to
the audience and bow politely before
Evaluate Your Classmates’ Scene returning to your seat.
Hand out the Critique Sheet for this
activity or have students use their
own paper. If you have counted down
the time for the students, ask how
they think this affected their work on
the scene.
If you have focused on tactics, you
might want to add an additional ques-
tion about what tactics were used by
each of the partners and which ones
were successful and why.
96 Unit Three Creating a Character
Quotable
The actor is an artist, not a critic. His job is not to explain
a text, but to bring a character to life. To understand as an
intelligent man and to understand as an artist are two
completely different things . . . .
Paul Claudel, French Poet and Playwright
Chapter 9 Test
The test for this chapter is available in
Additional Projects blackline master form in the Resource
Binder, page 38.
1 Select newspaper human- which you portray a charac- 5 Read the scene from A
interest stories to analyze. ter who is wearing this cos- Marriage Proposal by Anton For More Information
In groups, supply the tume or holding this prop. Chekhov found in Unit Eight
Books
necessary characters for the of this book. With a partner,
4 Work with a partner to Adler, Stella, The Techniques of
action of the story. Establish choose a part and read the
create a scene. Character A Acting, Bantam Books, 1992.
the characters’ physical, scene through together. As
goes on stage and waits
emotional, and social you read, be aware of each Boleslavski, Richard, Acting: The
for Character B to enter.
dimensions. Then improvise character’s motivation, First Six Lessons, Routledge, 2003.
A decides upon a definite
a scene built around them. obstacles, and stakes in
character relationship
this particular scene. Cohen, Robert, Acting One,
2 In groups, build a scene with B, but does not tell B
McGraw-Hill, 2001.
around a historical event, what it is. B must discover
such as Lewis and Clark’s who he or she is strictly Meisner, Sanford, Acting, Vintage
first meeting with Sacajawea, through the way A talks and Books, 1987.
General Lee’s surrender behaves toward him or her.
to Ulysses S. Grant at B responds as sensibly as Stanislavski, Constantine, Creating a
Appomattox Courthouse, possible until his or her Role, Theatre Art Books, 2002.
the Lincoln/ Douglas identity becomes clear.
Other Media
debates, and so on. Be sure
Character and Actors: Plot and
your story has characters
Conflict. VHS, Insight Media, 1992.
in conflict, high stakes,
a clear outcome, and is What’s the Score? Text Analysis for
historically correct. the Actor, VHS, Insight Media, 1989.
3 Choose a hand prop or
costume accessory such as
a pair of long white gloves,
an oversized umbrella, a
colorful silk handkerchief,
a pocket watch, or a stuffed
bird. Create a brief scene in
This image might help you build a scene around one of the
debates between Abraham Lincoln and Stephen A. Douglas
that took place throughout Illinois in 1858. It is possible to find
transcripts of these debates at your library or on the Internet.
Theatre Then
and
Now Theatre Then
Henrik Ibsen
When Ibsen’s A Doll’s House was first
performed in Norway, it was said that
and
Now
when Nora leaves her husband and Ibsen and Miller—
children at the end of the play and Appointment with
slams the door it was “a slam heard Humanity
around the world.” No one in a play
Henrik Ibsen and Arthur Miller both
had ever left their family before and
wrote plays with universal themes about
it shocked the world.
the human condition. They created
Many theatre experts believe that the flesh-and-blood, flawed characters
last scene in the play is one of the most on desperate quests for meaning Amira Casar and Marie Adam in a recent
perfectly crafted scenes in theatre. and fulfillment. A testimony to this production of Hedda Gabler.
They believe that when Nora asks her universality is the fact that much of
depth that Ibsen later became known as
husband Torvald to “sit down and talk” Ibsen’s work is still produced more
the “Freud of the theatre,” a reference
that naturalism and realism were born than 110 years after it was written,
to the famous psychoanalyst Sigmund
in the theatre. For the first time, people and Death of a Salesman, a play that
Freud. Ibsen wrote about characters
sat down and discussed their problems. celebrated its fifty-fourth birthday in
who struggled with the often negative
2003, remains one of the world’s most
forces in their own minds. And he
produced plays.
For More Information slammed these tortured souls up against
Henrik Ibsen (1828–1906) conventional society in ways that
Books revealed much about both the characters
Throughout history, playwrights have
Adler, Stella, Barry Paris, ed. Stella and the social order of the day.
struggled to define and illustrate what
Adler on Ibsen, Strindberg, and
it means to be human. The Greeks gave In his 1890 play Hedda Gabler, the
Chekhov, Knopf, 1999.
the world classical tragedy, a form that formidable but desperately unhappy title
Gosse, Edmund, Henrik Ibsen, depicted a noble-born person who, character sets about changing and
University Press of the Pacific, 2003. through a flaw in his own character, destroying the lives of those around her
brings about his own ruin. William as a way of fulfilling her own dreams of
Shaw, George Bernard, The Shakespeare’s dramas also focused on freedom and independence. Hedda is a
Quintessence of Ibsenism, Dover highborn individuals whose character strong, intelligent woman who is trapped
Publications, 1994. flaws brought them down. by the role society has created for her.
Templeton, Joan, Ibsen’s Women, In the mid- to late-1800s the Norwegian Ibsen created characters whose
Cambridge University Press, 2001. writer Henrik Ibsen created a series of desperate need to live differently drove
social dramas about middle-class people. them to self-destruction while also
Other Media These were plays of such psychological
The Wild Duck, VHS, Insight Media, ruining the lives of others.
1978.
98 Unit Three Creating a Character
Arthur Miller
Arthur Miller won the Pulitzer Prize in
“I think now that the great thing is not so 1949 for Death of a Salesman, which
much the formulation of an answer for myself, has come to be regarded as one of the
Arthur Miller (1915–) the theatre, or the play—but rather the most great dramas of American theatre. His
Nearly sixty years after Hedda Gabler accurate possible statement of the problem.” plays, particularly the early ones, are
was written, playwright Arthur Miller’s produced throughout the world.
—Arthur Miller
1949 masterpiece, Death of a Salesman, When it was first performed, however,
took the American theatre by storm. the play caused heated arguments as
The play focuses on Willy Loman, a to its status as a tragedy. Some critics
salesman long past his prime, who is believed that Willy Loman was too
still waiting in vain for his small corner ordinary and petty to cause the pity
of the American Dream. Like Ibsen, and fear instilled in audiences of great
Miller was interested in how society tragic drama. Willy’s small life and
affects the individual. Willy Loman sorry aspirations could not stand up
is a complex blend of desperation and against such tragic heroes as Antigone
bravado. At his core, he knows he is a or Oedipus, they argued. Miller
failure, but he spends much of the play defended his work by saying that any
trying to convince himself and those character willing to sacrifice his life to
around him that he is just about to
secure his own dignity was a worthy
make a comeback as the great salesman
successor to the tragic tradition.
he once was.
As the play progresses, it becomes clear
that Willy is reinventing his past and
that in fact he was never a great sales-
In the Death of a Salesman photo-
man. He has always been an average
graph, all three characters seem to
man with unreachable dreams. Toward
have strong objectives.
the end of the play, Willy realizes that
his failure as a salesman is mirrored in • Describe the relationships of these
his failure as a husband and father. The three men based on their body
American dream has escaped his grasp, postures and shapes?
and like Hedda Gabler, Willy Loman • How high do the stakes seem and
makes a desperate final statement. how can you tell?
The role of Willy Loman has tempted many fine actors
over the years, including Dustin Hoffman, above. For More Information
Books
“My main goal has been to depict people, human moods and human fates,
Gottfried, Martin, Arthur Miller,
on the basis of certain predominant social conditions and perceptions.” DaCapo Press, 2003.
—Henrik Ibsen
Miller, Arthur, et.al., Echoes Down
the Corridor: Collected Essays,
Chapter 9 Character Analysis 99 1994-2000, Viking Press, 2000.
Miller, Arthur, On Politics and the Art
of Acting, Viking Press, 2001.
Backstage Gossip: But What About Marilyn? Other Media
When David Merrick was first introduced the stature of both men that the producer Arthur Miller, VHS, Insight Media,
to Arthur Miller, who had been an idol to forever remembered the impact of this 1991.
him, the playwright was accompanied by meeting: “I just couldn’t stop staring at
Marilyn Monroe, then at the height of her Arthur Miller.” Private Conversations on the Set of
glamorous fame. It says something about Death of a Salesman, VHS, Insight
from Broadway Anecdotes by Peter Hay Media, 1986.
PREVIEW
Three Review
1 An actor’s “dual role” means that
the actor is the character while PREVIEW
also being the actor. Examine the following key concepts previewed in Unit Three.
2 External traits are: a) posture, 1 Describe an actor’s “dual role.”
c) mode of dress, and e) voice. 2 Which of the following are a character’s external traits?
3 The fourth wall is the space a. posture c. mode of dress e. voice
between the actors on stage and b. spiritual qualities d. mental characteristics
the audience, which the audience 3 What is the fourth wall?
looks through as if it were a win- 4 Name the five elements of plot structure.
dow to the scene.
5 What do we call information that is implied but not stated by a character?
4 The five elements of plot struc- a. subculture b. subtext c. secret script d. innuendo e. gossip
ture are conflict, rising action, 6 Explain how a protagonist differs from an antagonist.
turning point (or climax), falling
7 Compare social drama to melodrama.
action (or denouement), and
resolution. 8 What is the difference between low and middlebrow comedies?
9 Which of the following is NOT important when engaging an audience
5 Implied information is b) subtext.
in a comedy?
6 The protagonist is the person the a. the audience feels superior to your character
audience cares about, often a b. the character can be easily identified with
hero, but not always. The antago- c. the character has a tragic flaw
nist is any force, often a person, d. something happens when least expected
that opposes the protagonist.
7 Social drama is serious drama
that focuses on the hopes and
struggles of ordinary people,
PREPARE
while melodrama is much less Assess your response to the preparation process for projects in this unit.
realistic in its attempt to create 10 In analyzing your character for the high-stakes scenario, was it easier to
excitement and suspense. determine the character’s traits or motivation? Explain why.
8 Lowbrow comedies use out- 11 As you prepared a scene from a play, was it easier to work out the character’s
landish and sometimes vulgar actions, words, or feelings? Why?
humor to elicit laughs while 12 How did you go about finding your comic character while preparing for
middlebrow comedies are your comic monologue?
more refined, sentimental, and 13 Was it easier to prepare your dramatic scene or your comic monologue? Why?
plot-based. 14 Did you find it more satisfying to work out a character on paper or onstage?
9 Characters in a comedy do not
have c) a tragic flaw.
134 Unit Three Review
PREPARE
10 Answers will vary, but students
should support their reasons for
choosing character traits or moti-
vation as the most difficult part of
analyzing a character.
11 Most students will probably say it
was easier to work out the feel-
ings than the actions and easier
to work out the actions than the
words in the scene.
PRESENT
CRITIQUE 15 Answers will vary, but most stu-
Evaluate how you go about critiquing your work and the work of others. dents will probably say that they
19 Did you find it easier to evaluate a comedy or a dramatic work? Why? could feel the audience respond-
20 Describe an insightful critique you received from your teacher or classmate ing, and that they worked harder
and how it helped your performance. if they thought they were losing
the audience.
21 What one thing did most performers have trouble with in creating a character,
and what could they do to improve their performance? 16 Some students may admit to
difficulty in staying in character;
others will have no problem.
Resource Binder
Unit Three Test, p. 51 EXTENSIONS
• Students’ papers should be
thoughtfully and carefully written.
• She is elderly and probably wealthy.
She has a strong sense of herself.
She likes to dress with style and
flair. She doesn’t mind overdoing
it a bit. She has good posture and
probably lots of confidence. She
likes to strike a pose, and so on.
Part
Nine The Business
of Theatre
Agents, Lawyers, and Managers Auditions
Agents Finding an agent is the “catch In larger cities, audition calls are listed in
22” of the acting industry. Often you can’t trade and industry magazines and newspa-
be seen until you have an agent, and you pers. New York and Los Angeles have
can’t get an agent until you’ve worked and trade magazines such as Backstage and
been “seen.” In the early days of your Onstage, as well as Web sites that list
career, an agent can help you become auditions. In other areas you may need to
“marketable.” You still have to the do the do some investigating to discover how
essential work of proving yourself in audi- and where auditions are held. Read the
tions, but the agent can get you through local newspapers and study the theatre
the door for movies, television, and stage scene where you are living. Attend shows
acting. And an agent will certainly help you and introduce yourself. If you see a theatre
in negotiations once success starts to company that you like, ask them if and
come your way. Agents also represent when they hold open auditions and always
writers and directors in both the film and check listings and bulletin boards at local
television industries. Agents receive a per- Actors’ Equity Association offices.
centage (generally ten percent) of every Some auditions are open and others are
contract they negotiate for you. exclusive. Exclusive auditions require you
Lawyers Entertainment lawyers serve a to have an agent set up the appointment.
more specific function than agents do. If you don’t have an agent, the best thing
They negotiate contracts and help protect to do is to attend every possible open
the actor/director. Entertainment lawyers audition that seems to fit your age and
usually work for a fee rather than a per- type. Don’t waste the time of directors and
centage. Many very successful artists producers by showing up for auditions
have both a lawyer and an agent. Don’t where you clearly won’t be cast. You may
worry about finding a good entertainment also hear about auditions for talent “show-
lawyer—when you are successful, they will cases” or volunteer/ internship programs.
find you. Study all of these carefully. Doing some
work for free in hopes that it may lead to
Managers Some actors also find it money and publicity later is a gamble that
helpful to have a manager. Managers are sometimes pays big dividends. Too much
concerned with all aspects of an actor’s free work can devalue you as an actor, but
career, often serving as counselor, friend, it is also a way to network and meet other
image consultant, and career guide. Like people in the business.
an agent, managers receive a percentage
of what the actor earns.
Once you’ve had your sitting, the photogra- For example, if you are auditioning for film,
pher will give you contact sheets from list your film and/or video credits first. If
which you will pick your favorite shot. Get you are auditioning for a Shakespearean
help in choosing the image that will best play, be sure to place prior Shakespeare
serve you. If possible, ask a director and/or credits early in the resume.
casting director who looks at headshots on
a daily basis to help you. They can give you Location
feedback on how your photo compares to Some actors are comfortable in New York,
other actors’ and how well it reflects your others in Los Angeles, and many at region-
appearance. Glamour shots that give a al theatre centers in between such as
false impression can work against you. You Chicago, Minneapolis, Seattle, San
then need prints made of your headshot. Francisco, and so on. You need to find a
You can order 300 to 500 copies of your place where you can make connections
picture for under $100. Don’t scrimp here. and have the least amount of fear. Of
You need plenty of photos so that you are course, New York and Los Angeles are the
not afraid to leave a trail of them at audi- biggest markets, but they are also the most
tions and with directors and theatre com- competitive. In both regional and major
panies. Make this investment before you urban markets there are many smaller the-
start trying to sell yourself as a performer. atre companies willing to work with new
actors. You don’t have to wait for the “big
A Portfolio A portfolio can be a very audition” to begin developing your craft.
useful tool. Most directors, educators, and
designers use a portfolio to show exam- Networking and Connecting
ples of their work when a “live” audition Networking is one of the greatest keys
isn’t appropriate. The portfolio consists of to success. You must do your best to
sketches, photographs, programs, draw- know who is doing what sort of work in
ings, and other documentation of your the business and try to find ways to get
work. It is an excellent interview tool for close to people who are having success.
actors looking for work with a company, Sometimes this means working at a relat-
though rarely is such evidence called for in ed job, such as becoming a paramedic
an audition. for film or television sets or helping to
Demo Reels The demo reel is a film organize extras for a casting director.
portfolio featuring clips from television or Apprenticeships and opportunities to
motion picture work you have done. As further others in the business can only
with headshots, ask other people in the help you later on.
industry to recommend professionals who Connecting is similar to networking but
can help you put together your demo reel. has more to do with consciously seeking
Resumes You must have a resume. (See out those who might help you. You need to
pages 553–554 of this handbook.) In fact, be courteous and not pushy, but it never
you might want to have multiples—each hurts to try making a connection with some-
designed to showcase the aspect of your one who might be able to help you. Often
work most likely to get you a specific job. people who are successful in the business
are very willing to serves as mentors to SAG or AFTRA, which may, by the time of
others. This may be the way they got their this printing, be merged into one union.
start, and successful people are often Consulting with friends or officers in the
willing to share their expertise. Just various unions is a great way to find out
remember when you become successful what you should do in your location with
to help others along the way. your particular skills.