Acting, using body, voice, imagination and belief to be another character, is an art. Here are some helpful hints and tips on how to give a really impressive performance and get great marks at a Festival.  Working with WORDS and BODY LANGUAGE helps us with vocal and physical expression, which is vital in performance – and all good actors start from here.

Types of acting

Solo Acting – means performing ON YOUR OWN. Although you may be alone on the stage, very often you will be holding a conversation with another character which the audience cannot see. However, it is most important that you make this invisible character believable. If you have spoken to another character leave enough time for that character to have responded before you speak again, this will lead to a more convincing performance.

Duologue Acting – means TWO PEOPLE working together to create a scene. Building a convincing partnership is very important here. Although you do not need to look at each other the whole time you are in conversation, a reasonable amount of eye contact is important. Reacting to what the other character is saying and doing is also very important. Do not stop acting just because it is not your turn to speak!

Group Acting – means a NUMBER OF PEOPLE performing together. Extend the ideas of partnership and reacting to the words and actions of others here. Try to make the reactions of each character reflect the personality of that character and look for ways in which to contrast the characters by their differing responses to the situation.

Shakespeare Acting – this is quite a different format. Although much of the advice give above still applies, on top of that extra consideration needs to be given in respect of this different style of writing.

Selecting your piece

Beware of the Time Limit set for your class.  Keep within this boundary. Take into consideration that movement and use of the stage will swell the time in performance.

You can use a speech or scene from any play or dramatisation from a novel. If you are struggling for ideas contact the Festival on miranda@wbaf.co.uk and ask for advice we can probably offer examples for you to use.

Choose a piece where the CHARACTER is applicable for your age.  Do not be too ambitious – acting period costume drama between the ages of 8 – 12 is not practical, unless it is a child part. Select a character you can identify with.  Try to find a scene which builds to a point of interest – a climax or peak – which is self-contained in what it is suggesting. You may make CUTS in the script if some lines are unnecessary. The compacted scene is then complete within itself.

Getting started

Memorise the words

Learning the words is only the start of creating a great performance. Start memorising the words as soon as you can, so that you are able to spend more of your time working on the way you perform it. Constantly having a script in your hand, restricts hand-movements. As soon as you can work without a script, you are able to use hands for gestures, or mimed elements which may be necessary in the development of the scene.

Create the Character

As soon as you have memorised your script, identify with the CHARACTER.  If you are playing a person, consider age, build, characteristics of personality – accent maybe.  If you are a fictional character, consider body-language.  For instance, if you play POOH BEAR, walk around as if you are fat – assume the stance.  If you are RATTY, consider paws and whiskers.  Use your imagination to create the character physically.  If a QUEEN or KING, walk tall.  If an OLD GRANNY, bend a little and stiffen movement.  If at student level you perform a piece from a period play, consider costume, which restricts movement – allow for this in your performance.  For women – corsets would have been worn in times past, which means sitting and walking in an upright fashion – dragging the long dresses.  For men, jackets with tails might have been the fashion – flick tails to sit. Use bold gestures to put on and take off top hats.

Know your stage

DOWNSTAGE is next to your audience. UPSTAGE is at the back of the theatre.  Stand in the middle of your area, facing your audience, and stretch out your arms. To your left is STAGE LEFT, to your right is STAGE RIGHT. UPSTAGE LEFT means moving towards your left hand but to the back of the stage, UPSTAGE RIGHT is towards your right hand but to the back of the stage, DOWNSTAGE LEFT is towards your left hand but next to your audience, DOWNSTAGE RIGHT is towards y our right hand but next to your audience. STAGE CENTRE is right in the middle of your stage.  It is important to know this, especially in group-acting, when you plan where everybody should be moving.

Set the scene

When you have selected your script, decided how to perform it.  Always FACE your audience in performance when you speak.  Set chairs or tables as necessary, but do not clutter the stage.  A simple set is the best, and allows for movement around the area. If you are performing a solo piece, and have an imaginary character in the scene, set them downstage (see above), so you are always speaking to them in a direction where the audience will benefit from your lines and facial play.  Make moves purposeful.  Don’t wander – make a move to a chair or around a chair to suit the mood and meaning in the scene.  If it is a DUO scene, make sure you do not speak your lines to each other in profile (side on) for too long – let the audience see your facial play and response.

Make good use of your stage – devise your movement to allow use of different parts of the stage where possible and appropriate.

The performance

Start the acting

If the scene suggests an entrance – start at the given point offstage (usually upstage), pause to focus and imagine the character, then walk onto the stage as that character, before speaking. If the opportunity arises, do a little mime in this entry, to set the idea of the scene. ie: imagine you are playing the part of a grumpy KING who drinks a glass of sunshine before cheering up … stomp onto the stage with a miserable, fierce-looking face, see the glass, pick it up, drink it down (really swallow!), then let the face change slowly to a smile, and the body-language change to one of joyous excitement.  At the end of the scene, if appropriate, make a defined exit. If using hand-props – umbrella – bag – handkerchief – book – etc., handle these clearly.

Technical skills

Speak clearly

Always try to speak clearly, and project the voice. Shape letters and vowel sounds with your mouth – don’t mumble.  Try not to lose the ends of words or to fade away at the end of a line and remember to project to the people at the back of the room, so they will hear you clearly. At the same time try not to shout – it’s a fine balance.

Pace

Try to find the appropriate pace for the piece you are performing, and vary this according to mood. Look for moments when words can be speeded up to reflect excitement or anger, or slowed down to demonstrate sadness or distress. Keep this fresh and spontaneous. Don’t ever rush through a piece from beginning to end. The scene loses momentum and shape.

Pause

Pause means stopping in appropriate places. It helps to keep the SHAPE of the performance.  Pause at the ends of sentences, or after a question – where you are expecting a response from your other character – or imaginary character.  Pausing helps to slow down a performance to build the tension – don’t ruin a piece by rushing through it. Feel the mood and use pause with imagination to support the ideas within the text.

Emphasis

Emphasis is stress or force placed on a word or phrase to bring out the meaning, and gives importance to the overall message in the acting. Point important words by putting more weight on them – or stretch them for effect. A scene performed without emphasis will be bland, and the point of the scene, lost.  Highlight the text where emphasis needs to be placed – to give real meaning to the acting. Sometimes a pause before or after a word, helps to highlight it.

Modulation

This is the movement of the voice, respecting pitch, pace, power (intensity or emotion), pause, inflection and emphasis. Some of this has been explained above. However, keep the words moving, in accordance with the mood of the piece, but utilising and mixing the above elements constantly.  This will give vocal flexibility and interest to your audience. A piece spoken on two notes is bland.

Facial Play

Respond to the ideas within the script by letting your FACE work accordingly.  If happy – smile – if sad – look glum. If you ask a question, let your face respond to the answer.

Emotion

It is important to imagine that you really are the character. Identify with their feelings, and play emotional parts with belief. If crying – really make it sound as if you are crying. Don’t cut this off as if you are turning off a tap – sustain the reality. Keep within your world.

Classical or Shakespeare Acting

This requires knowledge of period, and therefore costume, and style, which will affect movement.  The language in Shakespeare may be BLANK VERSE – a form of verse which needs to be spoken like poetry. (See Hints and Tips – Performance Poetry). Always respect the writing. Use modulative play as above, but keep the flow of the lines on the breath, to observe the poetic value. Speech should be crisp and diction sharp. Observe emotion.

On the day of the performance

Introduce your piece clearly with the NAME OF THE PLAY, and the PLAYWRIGHT, followed by the PART you are playing. If you can give an introductory sentence to suggest the setting, mood or era, this can be helpful for your audience.

If you make a mistake…

…soldier on, you never know people might not notice! If you forget your words, don’t worry, if you are performing at a festival, you will be helped by the adjudicator.

Above all …

Try to see the characters and scenery around you and respond to them.  Believe in your scene and the mood of your scene. Keep the acting fresh. Use your energy level to lift the performance – don’t be sluggish in acting. Support the voice by good breath control. Put yourself in the shoes of your character, and your scene will come to life. Rehearse well.

When you finish

Wait a short moment at the end of your performance to show that you have finished rather than running away!

Have FUN

Don’t forget this is going to be FUN. Enjoy your performance – entertain your audience and give it your best shot. It will be exciting, exhilarating and you’ll feel really proud of what you have done. The audience will appreciate your hard work, and will applause.