Tips for memorizing dialogue

[gi-jones]

Ok, as previously mentioned, I'm teaching an acting-class for children. As I myself have never received acting training or actually acted, this is more of a workshop really. They meet up once a week, we do a few impro excercises, and I do what I do best. I make movies with them. Basically small pieces with no real production design elements, just to give them the feel for it.

What I would like to ask though, is for some simple, easy-to-pass-on, advice on the art of memorizing a page of script. I've been thinking and must admit I really have no good idea of how actors do this. I realize it's not something you learn in the blink of an eye, but there must be some advice worth giving to people, just beginning to learn this.

Thanks.

[Michele Seidman]

Repeat, repeat, repeat.

Seriously, have them do the lines over and over, back to back...don't worry about acting the lines. Just start at the top...work to the bottom and repeat. Do this quickly 5-6 times and half the lines will stick and the rest will be basically in place.

Repetition is the easiest way. Most try to repeat while acting it out and that can get the emotions and inner monologue in the way of the lines. After repeating try dropping the script and notice how much stuck. It becomes easier to act out the lines once they are locked in than to go the other way around.

Hope that helps!

[ConspiracyPenguin]

Repetition will burn the lines into their heads, but the biggest problem I have with that is it becomes "over-rehearsed" and doesn't seem as natural when coupled with a performance. When I was doing theatre I would usually like to do a few cold readings and then move into blocking with the scripts. Once I had a good idea of what needed to be said I would ditch the script and go from memory. Once we had it all down as a uniform performance we were good, regardless of whether I remembered to say the words in the *exact* order they were printed.

This was you get a more real performance but if you are looking to just know the lines inside and out then repetition really is the best way. Do it until you know it, you know? Also, some would argue that a good actor can't "over-rehearse" but I am a firm believer that in NOT tempting it. :)

[gi-jones]

Hope that helps!

Actually it does, thanks. At this point I don't think over-rehearsing will be a problem. Our problems are much more basic, and a natural performance is something I think we will strive for once we achieve an "actual performance" :)

Something I noticed by pure accident, is that a very effective way of learning lines, is actually preparing the opposite part. For example, if you have a scene with two persons, and rehearse a lot of times, then change parts. That way something unconsious happens, where you actually remember the essence of the lines instead of the wording. I'm not sure how to explain, and not at all sure how to use it (as it probably only worked because the kids weren't prepared for the fact that I would make them change parts), but it was an interesting effect, producing a very natural performance (relatively speaking) almost instantly.

[Jonathan_P]

I've always had a very difficult time memorizing stuff, but I just took an acting class so it made me figure out a good approach for me. I totally agree that repetition is the key and to do it in a structured, systematic way. I ended up using a modified version of the Meisner approach I learned in class:

- type out all lines in a block with no punctuation (if that's too hard, put in line breaks); make several copies and keep them around the house so you can practice while you're doing stuff around the house. Laminate one for the shower!
- make a recording on an ipod or CD or whatever; practicing in the car is great!
- memorize with NO EMOTION (this is what avoids over-rehearsal), mechanically (not like a robot, just without specific emphasis or emotion)
- if you have trouble, read the other person's lines and cover your own
- rehearse with partners every opportunity; try to respond naturally to the other person instead of locking down specific emotions so you don't over-rehearse

I found it helpful to follow a strategy of breaking long texts into large chunks, then progressively learning smaller pieces, adding bits to the first bits until you have the whole bigger chunk. Here's a website I found helpful.

http://redbirdstudio.com/AWOL/memorize.html (http://redbirdstudio.com/AWOL/memorize.html)

Good luck!

[Ted Spencer]

Similar to your (gi-jones) idea of switching parts, I've found that memorizing *all* the parts in the scene is actually surprisingly helpful, and doesn't add nearly as much time to the process as you'd think. What it does it put your own dialog in a more complete context, so you know better what sets up your line (the other actor's previous line), and that, at least for me, helps with remembering my own lines. Under time pressure it may not be fully practical, but in any case, I find that memorizing the other actors' parts as much as possible is a good idea.

I also often circle and link words that have some relationship to one another, however incidental, especially when I'm having difficulty with one of them. For example, if for some reason I'm having trouble remembering the word "travel", and the previous line contains the word "car", which I'm *not* having trouble with, I'll circle both words in the script and draw a line connecting them, creating a sort of memory linkage. Then if I start to stumble on "travel", I remember the "car" association and the word comes.

Unfortunately, memorization does not come easy for me, so these kinds of devices have proven to be quite useful.

[iain.bason]

I find that it helps to refresh my memory just before it starts to fade. I will read a line aloud three or four times to get it into my head. Then I memorize some other lines. Then I try to remember the first line again.

I revisit a line after 30 seconds, then two minutes, then 10 minutes and so on. That really locks it in my long term memory.

[El Gato Negro]

learn the character first then the lines will come naturally. You should check out Jeremy Whelan - New School Acting technique. Every organic and even metaphysical which i think all acting is.

[armisiano]

Also, after some time doing the usual repetition, write the lines down. Even if not from memory (though ideal) copy them. That way you learn them through many channels. That has ALWAYS helped me a LOT, especially if ever I need to crunch before a rehearsal.

[rsbush]

learn the character first then the lines will come naturally.
Sorry but I strongly disagree with this. The lines will NEVER come naturally, they must be learned by repetition, repetition, repetition. And as others have said, learn them dry or cold, without emotion. It is by far the most boring part of preparation but you need to know them backwards and forwards because the first thing that happens when you connect emotionally while playing a role is that the lines disappear on you. They just fly right out of your head. This will happen if you are any good at all and it should be happening in rehearsal not in performance. Get anyone and everyone you can to run lines with you. Do it cold without acting, as fast and as often as you can possibly stand. Then do it again. And again. And again.

[libneon]

Well...here is what I do. First off, I don't like memorizing or for that matter even spending much time at all reading the other characters' dialogue except as needed to learn my lines. The best acting is true and if you start focusing on the other dialogue it will become so predictable it will hurt your performance.

If you've ever done a scene where the other person comes at you with their lines totally different than expected you feel this kind of truth to the scene where you really are reacting to what they are saying.

But anyway...on memorization. First off it's good to get a good feel for what is actually happening and be able to summarize it simply so you are not just reciting a list of lines. Much how the best way to give a speech is to create an outline with bullet points rather than to read it word-for-word.

When moving on to the actual memorizing of lines it's good to always start at different points in the scene. Humans have a tendency to remember the beginning and the end but not the middle...so start from the middle sometimes.

Also, it helps to say the lines flatly...learn them by repetition but don't always "act" them or else it will kill your actual performance AND it will ruin your memory if the way you rehearse them is not suitable for the way the other characters in the scene play their parts. i.e. a scene where a couple is fighting may make you imagine your character to be angry but the other actor may start their lines with tears...now your huffing and puffing fight isn't suitable...you might be so focused on adapting that you forget your lines.

Visualization is also great...imagine what your character might be thinking, create mental triggers like when another actor says a certain word it is tied into your next line.

[Erik Olson]

Great thread. I still wake up from nightmares about having forgotten my lines from my college acting days.

Thanks for the tips.

e

[Will Clegg]

I always found it helpful to learn the lines backwards. I would read the scene from end to beginning several times. By doing this, I would find the logical progression to the scene - knowing where it ends helps you remember where you have to go. I used to do shows in Italian, a language in which I was not quite fluent, so this was especially helpful. But it works in your native language too :)

[_joe]

One trick I found works well for me is that when first reading the lines, I would read a sentence or two and then say it-- the trick being that you never say the lines if you were still reading. so you're either reading your next sentence or saying it out loud, never reading and saying at the same time. One or the other.

That way, you force yourself to have to process what you've just read as opposed to just spitting out what you see on the page.


hope that helps!

[Ted Spencer]

One trick I found works well for me is that when first reading the lines, I would read a sentence or two and then say it-- the trick being that you never say the lines if you were still reading. so you're either reading your next sentence or saying it out loud, never reading and saying at the same time. One or the other.

That way, you force yourself to have to process what you've just read as opposed to just spitting out what you see on the page.


hope that helps!

aka "taking it off the page"

[Michele Seidman]

Sorry but I strongly disagree with this. The lines will NEVER come naturally, they must be learned by repetition, repetition, repetition. And as others have said, learn them dry or cold, without emotion. It is by far the most boring part of preparation but you need to know them backwards and forwards because the first thing that happens when you connect emotionally while playing a role is that the lines disappear on you. They just fly right out of your head. This will happen if you are any good at all and it should be happening in rehearsal not in performance. Get anyone and everyone you can to run lines with you. Do it cold without acting, as fast and as often as you can possibly stand. Then do it again. And again. And again.


rsbush.....here here! good on you for saying this.

funny how people think the lines will just come naturally if they prepare the character first. yes...for film it can make you get a bit stale but ONLY if you try to play the character while you lock down lines.

and on stage we learn how to do the lines night after night, week after week and keep them fresh for each new audience.

the speed trick really does work and i have taught it for years with great success. even had some producers and directors surprised to learn it and try it themselves just to see if it worked. loved their reaction when it did!

[El Gato Negro]

Sorry but I strongly disagree with this. The lines will NEVER come naturally, they must be learned by repetition, repetition, repetition. And as others have said, learn them dry or cold, without emotion. It is by far the most boring part of preparation but you need to know them backwards and forwards because the first thing that happens when you connect emotionally while playing a role is that the lines disappear on you. They just fly right out of your head. This will happen if you are any good at all and it should be happening in rehearsal not in performance. Get anyone and everyone you can to run lines with you. Do it cold without acting, as fast and as often as you can possibly stand. Then do it again. And again. And again.

From my experience (back in my acting days doing theatre) I would have to say almost 70 to 80 percent of rehearsals were all about mesmerizing the lines, which was frustrating and unnatural. At the end of the day it is the actor responsibility not the director to invoke the role. Wither by research, introverted observation or time spent on stage.

It becomes to dogmatic to just focus on repetition. I never memorized my lines ever. It was more of a digestion and absorbing the lines but never repeating lines like a emotionless robot.

To me repetition is just as uncreative as using personal history to evoke emotions. Personal history is biased and has the limitation of your personal experience. For me imagination was key.

[rsbush]

From my experience (back in my acting days doing theatre) I would have to say almost 70 to 80 percent of rehearsals were all about mesmerizing the lines, which was frustrating and unnatural.
Most probably it was so frustrating and unnatural because rehearsals are NOT for learning your lines. Learning your lines is homework. If you're rehearsing and you don't have your lines down, just put the book down and give it your best shot. But don't ever rehearse a scene on it's feet with your face in the book and don't let anyone you're working with do it. I can't stress that enough. It's completely and totally unprofessional and unexceptable.
And yes, learning your lines by repetition is not a creative exercise. It's the WORK you must do in order to free yourself so that you can be creative, loose and free while acting. Not chained to the text.
I agree with you that imagination is key. That's true no matter what technique you employ. Imagination, concentration and attention.

[Michele Seidman]

I was going to be good but dag nab it...always gets me when someone who 'used to act' but never spent their life at it is certain they know the best methods.

I don't tell people who run the cameras what the best methods are because I just shoot a little video now and then. I don't tell editors how to clip scenes because I am a rank beginner at it. I don't tell directors how to get the look they want because I have done it two or three times. I don't tell screenwriters how to write....or DP's how to assist directors...or Grips, or Sound or ANY other department how to do their job because I don't do it or only did it enough to have a very basic or general understanding.

YET..anyone who ever acted a few times think they know for certain 100% what works best.

Am I nuts to want the info to come from a person who has spent their life working on it? I don't think so but maybe I am wrong. But then...Dale Carnegie said get the information from someone who has done what you want to do...not from someone who did it once.

Sort of like the people who once sold Amway for 5 minutes claiming it a scam when others made huge money at it and the government declared it one of the few true multi-level marketing businesses.

Sorry...jumping down off my soap box....oh yeah...wait...I DID a soap...guess I can stay on the box.
:)

[El Gato Negro]

I was going to be good but dag nab it...always gets me when someone who 'used to act' but never spent their life at it is certain they know the best methods.

I don't tell people who run the cameras what the best methods are because I just shoot a little video now and then. I don't tell editors how to clip scenes because I am a rank beginner at it. I don't tell directors how to get the look they want because I have done it two or three times. I don't tell screenwriters how to write....or DP's how to assist directors...or Grips, or Sound or ANY other department how to do their job because I don't do it or only did it enough to have a very basic or general understanding.

YET..anyone who ever acted a few times think they know for certain 100% what works best.

Am I nuts to want the info to come from a person who has spent their life working on it? I don't think so but maybe I am wrong. But then...Dale Carnegie said get the information from someone who has done what you want to do...not from someone who did it once.

Sort of like the people who once sold Amway for 5 minutes claiming it a scam when others made huge money at it and the government declared it one of the few true multi-level marketing businesses.

Sorry...jumping down off my soap box....oh yeah...wait...I DID a soap...guess I can stay on the box.
:)

Well for starters I was a working actor for over 5 years, the majority in theatre and some indie productions. I sure as hell didn't get into acting for the money or fame considering I was a theatre actor. I did it because it was my passion nothing else. I was a theatre major and went to the same acting school with Richardo Chavaira (he was a senior and I was a freshman). I did about seven theatre productions while still in High School and I got paid for each one of them.

Now, I made a choice to focus on being a working director for film. So spent 3 years doing nothing but PA work and moved up to grip for 3 years. For the last 2 years alone I have done nothing but 1st AD/2nd for features, music videos, commercials; working with talent including Eva Longeria, Mike Starr, Douglas Spain, Todd Allen, etc. I am not bragging, the point I am trying to make is I know what I'm talking about I have collectively over 16 years of experiece (I'm 33 now). I got my first paying acting job at 17 and I was still in high school. I have first hand experience on numerous sets on what does and does not work.

Now I will refrain from letting my passions get the best of me and I will hold my tongue. I am humble enough to admit my mistakes. I made a general statement on acting methods without giving more examples. So I rephrase my comment. These are the methods and techniques that work for "me"!

[Michele Seidman]

So I rephrase my comment. These are the methods and techniques that work for "me"!

Even I can handle that comment.

I simply base my thoughts on the matter from spending over 30 years as a working actor in every medium and 25 of them teaching acting for camera work as high as the University and Pro level. I did do theatre too...for a lot more than 5 years. I stand by my method as one of the best methods for any actor in any media because I do teach it and see it work for the vast 'majority' of the thousands I have taught over the years.

But if that works for you...I get it...and I even support it. I really do think every actor has to discover what works for them over time.

The guy who started this thread is working with very young people who don't have serious training or theatre backgrounds. So I offered my information based on what works in that particular situation and for 'most' situations.

I felt it would give him the best chances because they are kids and don't even know how to build characters yet.

I based my answers on the question that started the thread because I was 100% certain it would work for what he is trying to do.

Thank you for clarifying your comment. I think that was very cool of you. Name dropping..not so much. I could name directors and actors I have worked with that would blow your mind but I never do that here or anywhere....

PS I am almost 50 and i started doing professional theatre at 12...math says you have not been alive as long as I have done this. that is why I get miffed when people who have not devoted their life to it offer answers to questions like this!

[El Gato Negro]

Even I can handle that comment.

I simply base my thoughts on the matter from spending over 30 years as a working actor in every medium and 25 of them teaching acting for camera work as high as the University and Pro level. I did do theatre too...for a lot more than 5 years. I stand by my method as one of the best methods for any actor in any media because I do teach it and see it work for the vast 'majority' of the thousands I have taught over the years.

But if that works for you...I get it...and I even support it. I really do think every actor has to discover what works for them over time.

The guy who started this thread is working with very young people who don't have serious training or theatre backgrounds. So I offered my information based on what works in that particular situation and for 'most' situations.

I felt it would give him the best chances because they are kids and don't even know how to build characters yet.

I based my answers on the question that started the thread because I was 100% certain it would work for what he is trying to do.

Thank you for clarifying your comment. I think that was very cool of you. Name dropping..not so much. I could name directors and actors I have worked with that would blow your mind but I never do that here or anywhere....

PS I am almost 50 and i started doing professional theatre at 12...math says you have not been alive as long as I have done this. that is why I get miffed when people who have not devoted their life to it offer answers to questions like this!

Only reason I had to drop names was to add validity and evidence to my experience. I think what started your negative assumption of me was that you were under the impressive i was some student filmmaker or a novice. In my opinion anybody who has worked on their craft for a least 10 years is there for a reason. That being said I will end this with a David Mamet quote "“Always tell the truth - it's the easiest thing to remember”...

[Michele Seidman]

Only reason I had to drop names was to add validity and evidence to my experience. I think what started your negative assumption of me was that you were under the impressive i was some student filmmaker or a novice. In my opinion anybody who has worked on their craft for a least 10 years is there for a reason. That being said I will end this with a David Mamet quote "“Always tell the truth - it's the easiest thing to remember”...


It might help if any of your links on your profile lead to web sites that actually went somewhere!

My assumption was NOT that you had never done a thing...my assumption was that you have not done this as your life blood for nearly as long as I have. My assumption was YOU do not teach these skills and understand what works most often. My assumption was that if you really paid attention to the question you might have noted he was dealing with kids.

Please read what I originally posted about people teaching skills they have not spent their life doing before YOU assume what I meant.

I also get miffed when people use fake screen names that do not allow themselves to be researched to prove they do know what they are talking about. I don't hide...I stick my neck out. I take risks doing it but I am willing to stick my neck out.

I can assume you are not willing to put your name on the line because you don't use your real name and you don't have links that lead to the imdb or the bwdb or any other legit film or theatre resume. You may have them...but you don't stick your neck out and risk the 'truth' as you so boldly put it.

Want to be truthful as Mament pointed out...then live it don't quote it!

[El Gato Negro]

Even I can handle that comment.

I simply base my thoughts on the matter from spending over 30 years as a working actor in every medium and 25 of them teaching acting for camera work as high as the University and Pro level. I did do theatre too...for a lot more than 5 years. I stand by my method as one of the best methods for any actor in any media because I do teach it and see it work for the vast 'majority' of the thousands I have taught over the years.

But if that works for you...I get it...and I even support it. I really do think every actor has to discover what works for them over time.

The guy who started this thread is working with very young people who don't have serious training or theatre backgrounds. So I offered my information based on what works in that particular situation and for 'most' situations.

I felt it would give him the best chances because they are kids and don't even know how to build characters yet.

I based my answers on the question that started the thread because I was 100% certain it would work for what he is trying to do.

Thank you for clarifying your comment. I think that was very cool of you. Name dropping..not so much. I could name directors and actors I have worked with that would blow your mind but I never do that here or anywhere....

PS I am almost 50 and i started doing professional theatre at 12...math says you have not been alive as long as I have done this. that is why I get miffed when people who have not devoted their life to it offer answers to questions like this!


It might help if any of your links on your profile lead to web sites that actually went somewhere!

My assumption was NOT that you had never done a thing...my assumption was that you have not done this as your life blood for nearly as long as I have. My assumption was YOU do not teach these skills and understand what works most often. My assumption was that if you really paid attention to the question you might have noted he was dealing with kids.

Please read what I originally posted about people teaching skills they have not spent their life doing before YOU assume what I meant.

I also get miffed when people use fake screen names that do not allow themselves to be researched to prove they do know what they are talking about. I don't hide...I stick my neck out. I take risks doing it but I am willing to stick my neck out.

I can assume you are not willing to put your name on the line because you don't use your real name and you don't have links that lead to the imdb or the bwdb or any other legit film or theatre resume. You may have them...but you don't stick your neck out and risk the 'truth' as you so boldly put it.

Want to be truthful as Mament pointed out...then live it don't quote it!

So much for being civil. Well, your comments are a testament to your tackiness and your vindictive nature. In the end the truth always comes out. I have been on DVXuser for over 2 years now and have never encountered any negative vibes from any of my colleagues. After seeing your imdb the majority of your roles have been walk-ins, bit part or day player. Which I respect and I am sure you earned them. So have I. That was the point I was trying to make with anybody who has been in the biz for over 10 years. You started as a actor and now a acting coach. I started as an actor and now a 1st/2nd AD. So if it took you more than 30 years of acting, training, working to finally land that perfect role it would be worth all the struggles and heartache you had to endure right? It's the same for me. All of my theatre experience, PA jobs, grip & AD will finally take me to my final destination to finally direct my first feature film. I have earned the right to put my 2 cents when it comes to all aspects of production and I don't have to justify it to anybody.

And as for my credits you are more than welcome to verify them in the San Antonio Film Commission. Which are verified by the film commissioner.

http://www.visitsanantonio.com/film/FilmProductionManual.aspx just type in my name. All of my contact info is there (phone, email etc). My site is down for nonpayment its called NET 30 and once its up you are more than welcome to check my site and blog (which has countless links, photos & videos on the productions I have worked on.) Here is the link to my only IMDB credit since they don't post commercial spots and music videos. http://www.imdb.com/title/tt1230114/fullcredits#cast

It's unfortunate that you had to be immature and arrogant. I was only trying to show you mutual respect but that is out the window. It's pointless to try to have a debate with someone so unprofessional.

Here is my name Jesus Sifuentes

[gi-jones]

Wow, guys. Don't eat eachother now :)

I'm very thankful for the advice given in this thread. I had the kids read the pages through again and again, and then again as emotionless as possible. Basically they spent almost as much time memorizing these lines as we did shooting them, which is long for kids like these, with the attention-span of a gold fish.

But in the end I really think they learned that i pays off, and when we did it a second time on monday they were much more focused. It might actually be the most important thing they learn this year.

Oh, by the way, I feel all bad now. I'm trying to teach kids, and I never acted at all :) No seriously, I'm doing this because I got asked to, and the job is really more like animal wrangler than anything else :)

[El Gato Negro]

Wow, guys. Don't eat eachother now :)

I'm very thankful for the advice given in this thread. I had the kids read the pages through again and again, and then again as emotionless as possible. Basically they spent almost as much time memorizing these lines as we did shooting them, which is long for kids like these, with the attention-span of a gold fish.

But in the end I really think they learned that i pays off, and when we did it a second time on monday they were much more focused. It might actually be the most important thing they learn this year.

Oh, by the way, I feel all bad now. I'm trying to teach kids, and I never acted at all :) No seriously, I'm doing this because I got asked to, and the job is really more like animal wrangler than anything else :)

That's awesome Gi-jones! I know what you mean I volunteered a few times for the YMCA teaching teenagers ( they have all the traits of actors; indifference, attitude and ADD) filmmaking. If you can work with kids you can definitely work with professional actors :Drogar-BigGrin(DBG) Maybe some of my suggestions are to heavy for the little ones. Did you do any improv? Theatre games?

P.S. I didn't intend a flaming war so excuse my temperament.

[Michele Seidman]

I was neither being vindictive or spiteful. I stated fact and you assumed my words were being typed like I was yelling at you or talking down to you when all I was doing was stating fact and opinion.

Your sites were closed. You were behind a nick name and not your real name and you read my IMDB wrong. They were not all walk ons and you ignored my other acting page where I am able to list indie that imdb won't post. You have also never seen my teaching resume, casting resume, agency resume, producing resume, nor are you aware that I walked away from fame over 20 years ago. Nor are you aware that I left NYC because my mother was dying and I would do it again and again.

NOR are you aware that MY goal was NEVER to be famous but to act and help others.

I do what I love out of love. I try to answer thread questions based on what is asked.

I was NOT being tacky but right now I will be...I will put my imdb and other resumes up against your 1 imdb credit on the imdb any day of the week. Oh yes...did I forget to mentioned I started and ran a film program for a college too! I have helped thousands of people get in this business including directors, actors and producers and have resumes on imdb that are more than 1 credit. And no...I am not going to give out names to prove something. I find THAT tacky.

Thanks for not hiding anymore. At least I know you have some guts...but don't get all crappy with me because I seriously try to teach the skill the person needs and asks for based on the situation and then get miffed when some one comes along and gets pompous and uses all the $10 words in their aresenal to help guide little kids!

I am old enough to be your Mother and you act like you know more. Based on age alone...you can't. Sorry if that makes you think the worst of my words but THAT is truth.

gi'jones....sorry. did not mean to get like this but i really do care a great deal about guiding new talent in the direction THEY need at the time THEY need it.

My typed words do not 'sound' like they do when spoken so some people assume the worst. I don't blame them...but darned if I will be attacked again and again. Now I see why so many of the original members seldom post anymore. When they tell the hard truth...people get up in arms.

ElGato, you might be surprised how much I could teach you. You might be surprised to know that even if you are a jerk to me I would still help you. I am starting to think you would not do the same. But thank goodness I am where I want to be and doing what I want to do, so I don't need your help.

[DogDay]

Michele I send you a virtual hug & make you a virtual cup of tea with virtual honey and rub your shoulders and whisper gentley in your ear "Let it go, you have so many more important things that you can give your valuable energy to" ...


El Gato ... You seem like a nice guy be the gentleman your wonderful Mother raised you to be and apologize to the Lady... whatever is the issue it has gotten way out of hand and doesnt matter anymore ... Shake & be friends now, life is too short.


DogDay.

[gi-jones]

Maybe some of my suggestions are to heavy for the little ones. Did you do any improv? Theatre games?
It was really hard to explain, just the basic thing about reading without emotion. Actual character-stuff is way out of their league for now. Also I wouldn't be qualified to teach something like that at all. We did a lot of impro, but mostly it's about exploring how it feels to be in front of a camera.



gi'jones....sorry. did not mean to get like this but i really do care a great deal about guiding new talent in the direction THEY need at the time THEY need it.
Don't worry. I'd take you advice any day.

[Michele Seidman]

Michele I send you a virtual hug & make you a virtual cup of tea with virtual honey and rub your shoulders and whisper gentley in your ear "Let it go, you have so many more important things that you can give your valuable energy to" ...


El Gato ... You seem like a nice guy be the gentleman your wonderful Mother raised you to be and apologize to the Lady... whatever is the issue it has gotten way out of hand and doesnt matter anymore ... Shake & be friends now, life is too short.


DogDay.

aww Dog...you are so sweet. El Gato does not owe me an apology if he simply took my first post wrong. I will take the hits. My post was a bit directed at him...well not exactly him but many folks who offer info not based on the question at hand. So, if he took it personal he has more than a right!

I will defend his right like I would anyone!


It was really hard to explain, just the basic thing about reading without emotion. Actual character-stuff is way out of their league for now. Also I wouldn't be qualified to teach something like that at all. We did a lot of impro, but mostly it's about exploring how it feels to be in front of a camera.



Don't worry. I'd take you advice any day.

gi-jones...

glad to help and you can send me question onthe private messages if you ever need me. i love kids a ton and they do take a little different style than adults do.

ElGato...please don't be concerned that I harbor an ill will. I speak my mind and then let it go! It is only if I hold it back I start to stew....lol..then stand back one and all....ha ha ha!

[DogDay]

Spoken like a Wise & Just Queen ...


DogDay.

[kimko]

aww Dog...you are so sweet. El Gato does not owe me an apology if he simply took my first post wrong. I will take the hits. My post was a bit directed at him...well not exactly him but many folks who offer info not based on the question at hand. So, if he took it personal he has more than a right!

I will defend his right like I would anyone!



gi-jones...

glad to help and you can send me question onthe private messages if you ever need me. i love kids a ton and they do take a little different style than adults do.

ElGato...please don't be concerned that I harbor an ill will. I speak my mind and then let it go! It is only if I hold it back I start to stew....lol..then stand back one and all....ha ha ha!

hey you're fine looking! let's hook up!:kiss:

[Michele Seidman]

Spoken like a Wise & Just Queen ...


DogDay.


lol..don't know about that Dog but sweet of you to say. just very aware that my typed words do not always come across the same was as when i speak them. it would be very easy for a person who does not know me to take them all wrong. in that...maybe i am wise!

but Queen....nah...more like the Queens right hand lady in waiting...ha ha ha. remember..i walked away from fame and help others...

years ago I saw a t-shirt...the only one I never bought that i still wish i had....and it read:

"Best Supporting Actress in Life"

That WOULD be me...heart of gold with a big mouth...ha ha ha



hey you're fine looking! let's hook up!:kiss:

ummm...lets not and say we did....lol....but then I don't do long distance!

[kimko]

damn! too bad............................................for me!

[kimko]

we could be the stars and the moon

[Michele Seidman]

lol kimko....exactly how did you expect to wine and dine me from over 2000 miles away? unless you have a private jet and can visit me or send it to pick me up it was going to be kind of difficult!

[kimko]

would you settle for a motorcycle ride, some liverwurst on saltines followed by some gallo wine if i'm out thataway?

[Michele Seidman]

lol...no....sushi and i'll meet you there. figuring from your picture on your profile it may not be safe on the back of your bike...plus i used to ride and don't like riding on the back anymore.

no more off topic smart butt! you and quirk! lol

[kimko]

hmmm i like a woman who takes control! so about this acting stuff................

[stan harrington]

Sometimes learning one way makes it difficult to learn a better way because it becomes habitual. Children are capable of much more learning than adults in many ways so teaching them the correct way is not always beyond them. I suppose it makes it difficult if you've been charged with the position of teaching but have had no experience at this field.

Understanding the material is the first step and knowing what the writer is trying to say is imperative. If you know what the message is in the piece or what the writer is getting at, then learning lines becomes more natural. You should develop your characters and involve your imagination to create a visual of what you are describing, and then the lines (if they are written well) should appear more apparent and seem to make sense...If you really know what you are saying and have a mental or visual reference for it you will retain them much more easily. I see way to many auditions, performances etc. where it is obvious that the actor really has no idea what the scene entails..they just know the lines. That is not acting. You don't have to be an actor to memorize lines or to read so teaching them to learn their lines (and how to learn their lines) will be far more beneficial to them.

This is a highly simplified way of answering such a difficult question because teaching and acting are not skills that can really be fully taught on a forum or on a thread. Hopefully it is somewhat useful...

Best,
Stan Harrington

[Michele Seidman]

Stan

Kudos on an excellent post! I am not sure if giJones included it on this post but on an earlier one he mentioned these kids were not really actors. I went the simplest route because he has not taught before and the kids never acted before.

I love what you wrote though and think for some of those really learning to act for the sake of pursuing it, should heed your advice!

Michele

[stan harrington]

Thank you Michelle...I haven't been able to get on to this forum lately but it's good to see a section on acting finally...It's been neglected and I hope readers from the other technical sections check in more often and help to build this section...it is very much needed...

Cheers,
Stan The Man

[Michele Seidman]

Stan

We need more seasoned actors on here. I have been jumped a few times verbally for telling some folks the truth. Interesting thing..I find the directors forum often brings up actors and how to deal with them. I jump in there from time to time to throw in my two cents.

You here in the states or down under?

Michele

[stan harrington]

hollywood...Stella Adler Theatre

[Michele Seidman]

cool..i did one of my stints at HB in NYC...now in NC hiding from the game...well...playing it at a slower pace that is...ha ha. and enjoying it that much more.