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  • The Unlucky Thirteen: Adapted by L. D. Naegelin

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    Mahmoud El-Fouly
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    The document provides advice on common mistakes made when interpreting dramatic scenes. It lists 13 issues to avoid, such as including too much unnecessary information, focusing on movement rather than objectives, playing caricatures instead of believable characters, forcing an interpretation onto a scene, and rushing or failing to fully commit to the ending. Overall, the advice emphasizes the importance of making definite character choices, allowing the scene to have natural impact, and ensuring all movement and delivery is motivated by and supportive of the text.

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    The document provides advice on common mistakes made when interpreting dramatic scenes. It lists 13 issues to avoid, such as including too much unnecessary information, focusing on movement rather than objectives, playing caricatures instead of believable characters, forcing an interpretation onto a scene, and rushing or failing to fully commit to the ending. Overall, the advice emphasizes the importance of making definite character choices, allowing the scene to have natural impact, and ensuring all movement and delivery is motivated by and supportive of the text.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    8 views1 page

    The Unlucky Thirteen: Adapted by L. D. Naegelin

    Uploaded by

    Mahmoud El-Fouly
    The document provides advice on common mistakes made when interpreting dramatic scenes. It lists 13 issues to avoid, such as including too much unnecessary information, focusing on movement rather than objectives, playing caricatures instead of believable characters, forcing an interpretation onto a scene, and rushing or failing to fully commit to the ending. Overall, the advice emphasizes the importance of making definite character choices, allowing the scene to have natural impact, and ensuring all movement and delivery is motivated by and supportive of the text.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    of 1

    THE UNLUCKY THIRTEEN

    Adapted by L. D. Naegelin
    1. Playing "Beat the Clock" -- as if the characters existed in a scene/selection rather than al-
    Making the cutting too long -- vacuum lowing the moment to achieve
    trying to include too much full impact
    8. Convincing yourselves that
    2. Thinking it's time for hand-wringing is a required el- *NFL has no specific rule re-
    "Melrose Place" -- Milking the ement -- Putting on an attitude garding movement or walking
    emotions or an emotion rather than play- in the interpretation events
    ing objectives and being honest other than the statement in
    3. Doing the "Hokey-Pokey" -- with character "Appendix III NFL Ballots" that
    Moving for the sake of moving "Although gestures and panto-
    without motivation* 9. Practicing a disappearing mimes are not barred, they
    act -- Dropping the ends of should be used with restraint."
    4. Believing Sylvester the Cat phrases and sentences rather Waling, or taking steps, or al-
    and Tweetie Bird should play than shaping them through ways keeping one foot station-
    Macbeth and Lady Macbeth -- strong vocal control ary, or remaining within a two
    Playing cartoons and stereo- foot square -- nothing about
    types rather than creating be- 10. Playing "punching bag" such movement appears in the
    lievable characters with the dialogue -- Emphasiz- NFL guidelines, though by tra-
    ing the wrong words, punching dition, perhaps, performers
    5. Thinking: "If only we'd been rather the carefully coloring have generally exercised rea-
    the playwright!" -- Forcing an soned control. The key with all
    interpretation on to a selection 11. Becoming "The Scream- movement is to see that it
    rather than allowing the script ers!!!!!!!!" -- Believing that loud flows from and is appropriate
    speak for itself equals intensity, as if volume to and supportive of the text.
    were a substitute for honest fell-
    6. Falling into the "Well, . . . ing (L. D. Naegelin is a member of
    maybe, . . . perhaps . . ." trap -- the NFL Hall of Fame and the
    Failing to make definite choices, 12. Imitating Max Headroom -- NFL Executive Council. Mr.
    not realizing that even a wrong Playing the interp just from Naegelin has coached national
    choice can be better than no your neck up instead of involv- champions in Extemp, L/D,
    choice at all ing the total body in creating Drama and Humor. He thanks
    your characters Michael Kirch of Illinois State
    7. Getting lost in "Forensics- University for his original
    land" -- Failing to give the inter- 13. Rushing the final curtain -- authorship.)
    pretation a context or a setting, Hurrying the ending of the

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