Download PDF by Paul Elsam: Acting Characters: 16 Simple Steps From Rehearsal to
By Paul Elsam
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Additional info for Acting Characters: 16 Simple Steps From Rehearsal to Performance
I’ll get you an orange, it’s better for you. ROSEMARY Oh. LUCY (as she goes) Sit still. Don’t run around. I won’t be a minute. So begins a wonderfully relentless sequence in which Lucy stays locked into parent-to-child mode of verbal status behaviour. While Lucy is out of the room Terry too slips into parentchild mode – aggressively this time – as he has ‘words’ with his wife: TERRY … we’ll have less of that, too, if you don’t mind. ROSEMARY What? TERRY All this business about me never going out of the house.
Re-run the scene and discuss how the dynamics have changed, even though the scripted lines remain the same. Example: Natasha from Three Sisters Chekhov has endowed Natasha with a fascinatingly comprehensive range of powers, which, when lined up alongside the powers of Andrei and his sisters, should suggest to us why his play is less a drama of inaction (a common criticism of Three Sisters), and more a drama of what powerful people suffer when they find themselves restrained by society, and by their own personalities.
Looking at the left-hand side of the ‘Personality’ section on the Character Profile Sheet, there seems little evidence of unstable behaviour, other that she can at times be talkative. g. g. g. g. cancelling the entertainers). As an actor preparing to play Natasha, you have reason to think of her as quite a neurotic person: perhaps a little more extrovert than introvert, but neurotic nonetheless. Such an analysis of a character’s personality can be a warning to you. If you play her simply as a neurotic ‘type’, you run the risk of being predictable.
Acting Characters: 16 Simple Steps From Rehearsal to Performance by Paul Elsam