A scene minus the humor is not believable. Humor exists even in the most serious of situations. When you come back next class, we will see both improvisations back to back.ĩ REVIEW Relationship: Fact + feeling Conflict: What am I fighting for?ġ0 #4: HUMOR It’s not jokes, it’s an attitude. Be very specific in both scenarios about all the details and events leading up to your entering the room and how you feel about entering the room today (what are your expectations). One “good” day and one “bad” day scenario.
#The 12 guideposts from the book audition by michael shurtleff full#
This requires immediate and FULL emotional commitment from the TOP!Ĩ FOR HOMEWORK Moment Before Exercise: “THROUGH THE DOOR”Īt home, brainstorm in your journal 2 different scenarios for entering the classroom. Then people decide whether or not they’re going to listen. In an audition, you have the first 10 seconds to make an impression. MAKE A CHOICE!!! It’s not enough to think about what the moment before should be one has to FEEL it, drown it it, be overcome by it! Be propelled by the feelings, not daintily led by your head. The more specific, the better the scene goes. All of this must lead to specific choices. You have to bring your “stuff” with you when you enter the scene. It is up to the actor to provide what comes before.
Every scene, play, or monologue starts in the middle. DO NOW: Brainstorm what your obstacle/s are in this scene and come up with 5 tactics you can use to overcome the obstacle.ħ #3: Moment Before Where are you coming from when you enter?Īnalyze it, make choices about it, and enter the scene with something. OBSTACLES: Who is interfering with you getting what you are fighting for? TACTICS: Find as many ways as you can to go about getting what you are fighting for. Don’t settle for anything except the biggest dream for your future. Maximum conflict is what we always look for. *Brainstorm examples as a class…Ħ Plays are not written about everyday lives or moments of peace and quiet, but about the extraordinary, the unusual, the climaxes. Make the most ACTIVE choice in your monologue. You wouldn’t be upset if you didn’t care. DO NOW: Fill out this sentence for your 2 monologues! You must find a POSITIVE motivation (Don’t give up – you are still there – you care! “I don’t care” is not a choice. DO NOW: Write down the FACTS + FEELINGS of your characters and their others in your monologues.ĥ #2: Conflict What are you fighting for? What is your motivation? Objective: I am trying to make _ feel/do _ in order to get _. Don’t play the end of the play before you get there - you have to take a journey in front of us. The process of trying to reach an emotional decision is always more dramatic than the achievement of it. Why? The character enters the scene wanting to kiss. Why? Wanting to kiss is more interesting than kissing. Wanting to decide is more active than deciding. Struggle with active choices in the performance. The “now” is the what you need to know in the monologue.Īlways ask: “Where is the love?” This is what makes you stay in the room and fight, instead of flee. How do you feel about your mom or dad? You best friend? Your boyfriend or girlfried? You sister of brother? Do you love them? Do they still make you mad sometimes? Do the feelings change on a daily basis? Write your thoughts in your journal… Explore the feeling in the relationship in the now. What is your emotional attitude toward your other? How does your character feel about the other person at this moment in time? It changes! DO NOW: Take a moment to think about your own relationships. Mystery/Secretģ #1: Relationship Relationship = Fact + Feeling Opposites 6.ĝiscoveries 7.Ĝommunication/Competition 8. Presentation on theme: "12 Guideposts Objective: To create honest, truthful behavior on stage."- Presentation transcript:ġ 12 Guideposts Objective: To create honest, truthful behavior on stage.įrom Audition by Michael Shurtleff: Everything an Actor Needs to Know to Get the PartĢ DO NOW: In groups of 4 - 5, create a mnemonic device to help you remember the 12 guideposts:ġ.