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I'm currently in the early stages of writing a 15min stage play. Does anyone have any experience in this and would have any tips?
CashmereCat- 04/05/2017 12:02 AM
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CloseI'm using amateur actors with a very low budget. It's a locked in a room "bottle episode", that is, set in a single location with about 6-7 characters. I chose this because it's a good way to force conflict, and make set design much simpler. However, I've never directed a play like this before and I crave advice to make this the best it can be.
Maintain a consistent format that's easy to read. I like to put the full name centered above each line (that's the current script standard). An older standard that also works is the abbreviated character's name left aligned in front of the line.
Avoid complex commands. Instead of saying ad lib, you might add the command, (briefly add irrelevant, or irreverent dialogue). The actor should never turn his back to the audience unless the character is invisible to the audience. Turning your back, facing upstage, is called a cheat out, and ordinarily, that's how you'd write it out. If you want the character to be invisible, with an amateur cast, just write out to face upstage. Note the rule that an actor may only face upstage when directed to do so, or when it's unavoidable, such as when moving upstage.
Always have the main speaker downstage center. If he or she's addressing someone, have the second actor left center facing center. The reason to have them at the left is that offstage cues are come from the left. If your main speaker is addressing people on both sides, there will need to be a bastard prompt so that management will know that there also needs to be cues coming from the right side.
That's all I can think of off the top of my head.
Avoid complex commands. Instead of saying ad lib, you might add the command, (briefly add irrelevant, or irreverent dialogue). The actor should never turn his back to the audience unless the character is invisible to the audience. Turning your back, facing upstage, is called a cheat out, and ordinarily, that's how you'd write it out. If you want the character to be invisible, with an amateur cast, just write out to face upstage. Note the rule that an actor may only face upstage when directed to do so, or when it's unavoidable, such as when moving upstage.
Always have the main speaker downstage center. If he or she's addressing someone, have the second actor left center facing center. The reason to have them at the left is that offstage cues are come from the left. If your main speaker is addressing people on both sides, there will need to be a bastard prompt so that management will know that there also needs to be cues coming from the right side.
That's all I can think of off the top of my head.
Excellent. These are great tips. Do you have ideas on how to get first time actors to act well or naturally? I'm a first time non-professional director myself so I know near nothing about this except to make them feel comfortable and understand how difficult it is to act. I am guessing volume will be the major concern, but can you think of other things that would need to be thought about?
What kinds of prompts would be used? Do you know of any good resources that can be used to upskill? I could probably google "theatre director tips", and I will probably do so after work, but would you happen to know something I could read or watch in the next few months to get me up to speed?
What kinds of prompts would be used? Do you know of any good resources that can be used to upskill? I could probably google "theatre director tips", and I will probably do so after work, but would you happen to know something I could read or watch in the next few months to get me up to speed?
http://theaterific.com/2012/05/7-tips-to-remember-before-directing-your-first-play/
http://www.langhamtheatre.ca/wp-content/uploads/2012/02/stagemanagerhb.pdf
From what you're saying, it sounds like you're not only the director, but also the stage manager (yes, those are two different jobs). The stage manager is the one actually giving cues when the actors are on stage, performing.
Cues are basically position and timing. They come in order.
Cue 1 is the first action taken by the first actor called. Basically, this:
https://www.controlbooth.com/threads/proper-way-to-call-cues.14742/
Try not to think too hard about cues if these are inexperienced actors and you're an inexperienced director. If I'm reading this right, all you really need are cues to make sure which actors know where to stand and where the lighting tech needs to point the lights.
Each time your script requires an actor to move, assign a cue. Just call them cues. Number them. Make sure your actors know the cues. If you've got someone operating lights, make sure he knows which light to point where.
Call:
30 seconds to cue.
Cue 1 (actor one moves into position; spotlight aimed in position)
Cue 2 (actor two moves into position; second light aimed)
Think of the cue as an RPG Maker switch. All it has to do is alert the actor that it's time to get into position and do his or her lines.
Remember, the stage manager is positioned to the side, and this is traditionally stage left, which is called the prompt side. This is why you have all of the action stage left and reserve stage right for actors who aren't doing their lines at the moment.
It often goes like this.
Actors start upstage:
Main speaker moves downcenter.
Secondary speaker moves downleft or downcenterleft.
Secondary speaker addresses main speaker.
Moves upstage.
Tertiary speaker moves downcenterleft.
Addresses main speaker.
Moves upstage.
Secondary speaker moves downcenterleft again.
Addresses main speaker. Has no further lines for an extended period of time. Moves right.
http://www.langhamtheatre.ca/wp-content/uploads/2012/02/stagemanagerhb.pdf
From what you're saying, it sounds like you're not only the director, but also the stage manager (yes, those are two different jobs). The stage manager is the one actually giving cues when the actors are on stage, performing.
Cues are basically position and timing. They come in order.
Cue 1 is the first action taken by the first actor called. Basically, this:
https://www.controlbooth.com/threads/proper-way-to-call-cues.14742/
Try not to think too hard about cues if these are inexperienced actors and you're an inexperienced director. If I'm reading this right, all you really need are cues to make sure which actors know where to stand and where the lighting tech needs to point the lights.
Each time your script requires an actor to move, assign a cue. Just call them cues. Number them. Make sure your actors know the cues. If you've got someone operating lights, make sure he knows which light to point where.
Call:
30 seconds to cue.
Cue 1 (actor one moves into position; spotlight aimed in position)
Cue 2 (actor two moves into position; second light aimed)
Think of the cue as an RPG Maker switch. All it has to do is alert the actor that it's time to get into position and do his or her lines.
Remember, the stage manager is positioned to the side, and this is traditionally stage left, which is called the prompt side. This is why you have all of the action stage left and reserve stage right for actors who aren't doing their lines at the moment.
It often goes like this.
Actors start upstage:
Main speaker moves downcenter.
Secondary speaker moves downleft or downcenterleft.
Secondary speaker addresses main speaker.
Moves upstage.
Tertiary speaker moves downcenterleft.
Addresses main speaker.
Moves upstage.
Secondary speaker moves downcenterleft again.
Addresses main speaker. Has no further lines for an extended period of time. Moves right.
The red square is where all of your action is taking place. Emphasis on action should be to stage left. Generally anyone standing in that square is actively engaging that audience. Try not to have another actor upstage the actor down center, thereby forcing the down center actor to cheat (face upstage).
Useful advice, piano! My thanks to you for providing links to articles that are relevant to my activities. They'll prove quite useful when deciding how to direct this play. I found the directions in the first article you linked to be most useful, especially the comforting advice that 90% of the success of the play is estimated to be found in casting. I'll be sure to get people to practice and rehearse many times so that their dialogue will be flowing naturally, as if it were their normal way to speak.
Oh, almost forgot. Down left is the land of soliloquies, monologues, and asides. Basically, any character that is monologuing separate from the other characters does so standing down left. This signals to the audience that the speech is distinct from what's happening in the normal course of the story and that what's being said is specifically meant for the audience and not necessarily the other characters.
Speaking naturally is one thing, but they also need to project. Make sure they always speak loud enough that everyone can hear (if any of your actors know how to speak the Trans-Atlantic accent, that will help). Also, motions and gestures (such as crying, wincing, displays of anger) need to be exaggerated so that the audience can see it. Careful, here. There's a fine line between stagecraft and chewing the scenery (being a ham).
Speaking naturally is one thing, but they also need to project. Make sure they always speak loud enough that everyone can hear (if any of your actors know how to speak the Trans-Atlantic accent, that will help). Also, motions and gestures (such as crying, wincing, displays of anger) need to be exaggerated so that the audience can see it. Careful, here. There's a fine line between stagecraft and chewing the scenery (being a ham).
Shinan
4314
The scripts I've read usually have nearly all directions stripped out. Especially dialogue direction, no need to have a bunch of (laughs) (disgruntled) (angry) in there. It'll come naturally in the process. And sometimes a line reading without that direction might even surprise you in a positive way.
Considering recording an early reading of the script so that people can listen to it to learn their lines. I've found it quite helpful.
To get actors to speak clearly it's important to get them not to lower their voices at the end of a sentence. I don't know how this varies from language to language but often the way to speak naturally (in my language) is to quiet down at the end of sentences (almost "swallowing" the last word). It's often exampled by how a question goes up at the end, so every line should sort of be a question. :)
Also for acting suggestions there's the thing where (especially new people) tend to want to wait for a line to finish before they say theirs. Or reacting to stuff that hasn't yet happened (because they know that they are going to have to react to it). Just emphasize that it's important to listen to what is actually being said. Sometimes a person might say a line differently and turn the response as written nonsensical. So it's important to know what is actually being said.
(somewhat bad example:
1: I don't agree with this.
2: Well you should. (agree with this)
vs
1: I disagree with this.
2: Well you should. (disagree with this))
Though also when it comes to reacting to stuff it's also important to pay attention and be prepared to react because I can't count the number of times I've spaced out for even a second and missed a reaction or a line :)
In a group scene it's important that the speaker is seen as well as heard. The tips I've often got is to step forward a bit just before speaking or standing up if sitting. Basically just do any motion that will turn the watcher's eye on you just before saying something. And also for people not saying anything (or people who shouldn't be in focus) not to do things that steal the show in the background.
During a show it's also important to remember that it's okay when fuckups happen. The audience is similar to the audience at a car race. They are there to watch people drive fast but if there's a crash that's pretty cool too. And also the audience hasn't read the script so often they don't even notice that something went a bit wrong.
I've never directed anything but these are some tips I've gotten over the years when it comes to acting. A lot of it is pretty basic. But it's also easily forgotten.
And with 15 minutes. Just like in gamemaking. Don't overscope :)
Considering recording an early reading of the script so that people can listen to it to learn their lines. I've found it quite helpful.
To get actors to speak clearly it's important to get them not to lower their voices at the end of a sentence. I don't know how this varies from language to language but often the way to speak naturally (in my language) is to quiet down at the end of sentences (almost "swallowing" the last word). It's often exampled by how a question goes up at the end, so every line should sort of be a question. :)
Also for acting suggestions there's the thing where (especially new people) tend to want to wait for a line to finish before they say theirs. Or reacting to stuff that hasn't yet happened (because they know that they are going to have to react to it). Just emphasize that it's important to listen to what is actually being said. Sometimes a person might say a line differently and turn the response as written nonsensical. So it's important to know what is actually being said.
(somewhat bad example:
1: I don't agree with this.
2: Well you should. (agree with this)
vs
1: I disagree with this.
2: Well you should. (disagree with this))
Though also when it comes to reacting to stuff it's also important to pay attention and be prepared to react because I can't count the number of times I've spaced out for even a second and missed a reaction or a line :)
In a group scene it's important that the speaker is seen as well as heard. The tips I've often got is to step forward a bit just before speaking or standing up if sitting. Basically just do any motion that will turn the watcher's eye on you just before saying something. And also for people not saying anything (or people who shouldn't be in focus) not to do things that steal the show in the background.
During a show it's also important to remember that it's okay when fuckups happen. The audience is similar to the audience at a car race. They are there to watch people drive fast but if there's a crash that's pretty cool too. And also the audience hasn't read the script so often they don't even notice that something went a bit wrong.
I've never directed anything but these are some tips I've gotten over the years when it comes to acting. A lot of it is pretty basic. But it's also easily forgotten.
And with 15 minutes. Just like in gamemaking. Don't overscope :)
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