CHAPTER 42

More Exercises

Together with the exercises included in the main text (e.g., kick the box), here are a few others. Each addresses a specific problem. When practicing them, many new discoveries will be made.

I have used these exercises for nearly thirty years and can no longer remember where they originated. They are probably combinations of exercises from Stanislavski, Meisner, Berry, Barton, Linklater, Rodenburg, various student and professional actors, and me, and have been sifted, changed, and reinvented while I coached actors and read anything written on the subject of acting, speaking, or analyzing Shakespeare. So acknowledgment is given here to all coaches, directors, teachers, actors, and authors whose influence has helped me to develop these exercises and to pass them along to others without taking personal credit for more than a small share of their effectiveness.

REMEDIES FOR COMMON ACTOR AILMENTS

What to do if:

• The actor is emphasizing the wrong words.

Exercise: Tap out the stresses (chapters 4, 36, and 39).

• The actor is not phrasing correctly.

Exercise: Phrasing exercise (chapters 3, 36, and 40).

• The actor is not supporting the line through to the end.

Exercise: Kick the box (chapters 4, 36, and 41).

• The actor is not breathing correctly.

Exercise: Breathing exercises (chapters 5, 36, and 41).

• The tempo and rhythm are off, because the actor is playing unnecessary subtext.

Exercise: Removing subtext (chapters 6 and 40).

• The actor is not emphasizing the antithetical words, thoughts, and phrases.

Exercise: Playing the antithesis (chapters 8 and 40).

• The actor is not properly opening his/her mouth.

Running and shouting the lines will open the mouth and release the words with energy. Also, singing the lines like an Italian tenor or dramatic soprano to any made-up tune opens the voice and also calls attention to each syllable, because when singing, each syllable gets its own note.

• The actor is not listening.

The partner should suddenly whisper the lines. Whispering demands attention. Also, speak the scene in total darkness.

• The actor is not using the vowel sounds.

Read the lines speaking only the vowels. The actor will discover the wonderful vowel sounds and the opportunities they offer.

• The actor is rushing, or is locked into rote memorization.

1. The actor who is rushing should read the lines for the listening actor to mime. The actor must slow down and clarify each thought, or the mime can’t perform.

2. Use the phrasing exercise from the text, moving on punctuation points.

3. Perform a physical or mental task while speaking the lines. For example, draw a picture of a specific object on the chalkboard while speaking the lines, or multiply a complex number on the chalkboard while speaking the lines, or arrange the other actors according to last names or height while speaking the lines. When speaking while concentrating on a different task, the actor will find new emphasis for specific words and will automatically slow down.

4. Two actors sit back-to-back on the floor after having memorized fifteen to twenty lines of a scene. The actor with the opening line says first in her own words what she is going to say via Shakespeare’s lines, then speaks the lines. The second actor repeats in his own words what he heard, then states in his own words what he is going to say via Shakespeare’s lines, then speaks the lines. This continues until the actors have worked through the scene. Then speak the scene again, but only with Shakespeare’s words.

You can create variations on this exercise, all of which will help actors listen, phrase, discover new ideas, and find tempo. This is an excellent exercise.

• The actor’s voice is high pitched.

1. Sit on the floor holding your knees, and rock gently and speak. Feel your voice lower itself in your body. Try to retain that voice when you stand up.

2. Lie on the floor on your back, and begin speaking your lines. Your voice will slowly lower in pitch. When it is low and strong and supported, stand up without losing that voice. Memorize its placement.

• The actor has no passion.

The actor doesn’t understand what the character is actually doing. Use analysis to solve that problem first. Then, you might try this technical exercise: Create a resistance. For example, have the actor to whom the first actor is speaking refuse to stand still or to look at the first actor, yet insist that the first actor make eye contact. The irritation that develops will help free the emotions.

You can create variations on this exercise. The idea is to make it difficult for the speaker to communicate.

• The actors are over-acting.

Try placing a “microphone” (a prop will work) within inches of two actors standing very close together and have them read the scene for “television.” When they pull back to video/film acting, they begin to listen and discover and stop “performing.”

You will find hundreds of other exercises in the various books listed in the bibliography.