When to promp?
Sun, 25 Nov 2007, 11:16 amGordon the Optom23 posts in thread
When to promp?
Sun, 25 Nov 2007, 11:16 amIn a play I saw recently, an actor was prompted whilst in full flow. Both actors were happy with the dialogue and the audience, I’m sure, unaware of any error.
The prompt given, was a completely different line to that being spoken. The actors ignored it and carried on regardless. It was obvious that the prompter was trying to get verbatim that which was on the page.
When does one prompt? Only when a deadly silence hits the stage? Or if the actor goes unnoticeably off track?
Gordon the OptomSun, 25 Nov 2007, 11:16 am
In a play I saw recently, an actor was prompted whilst in full flow. Both actors were happy with the dialogue and the audience, I’m sure, unaware of any error.
The prompt given, was a completely different line to that being spoken. The actors ignored it and carried on regardless. It was obvious that the prompter was trying to get verbatim that which was on the page.
When does one prompt? Only when a deadly silence hits the stage? Or if the actor goes unnoticeably off track?
LogosSun, 25 Nov 2007, 11:20 am
Ooooh Noooo.
Never ever ever prompt actors when they are flowing. Provided they are speaking english let them keep going. Only if there is a complete and utter silence should there be a prompt.
Is that all there is? Well if that's all there is my friend, then let's keep dancing.
www.tonymoore.id.au
RapunzelSun, 25 Nov 2007, 11:34 am
that is the question.....
To prompt, or not to prompt, that is the question...
Having worked extensively with both "no prompt" and "prompt available" my gut reaction was that they should only swing into action if that horrible, deathly silence falls.
I have seen, and taken part in one, amazing "saves". Most notably the occasion that someone did not enter, we looked at each other, and launched into ad lib that would have had the author spinning in his grave. We kept to script as best we could, but there were some sequences our characters would not, could not, know about. Missing person entered, was given a "you've missed the fun, we've just found out that X happened" speech and we were back on track. I never want to go through that again. Talk about sweating.
I was also doing a one woman piece and totally, completely dried. I was massively stressed and physically ill prior to performance, in hindsight I shouldn't have gone on. Thank god for the SM who prompted, when asked.
Another scenario, similar to Gordon's question. Two characters went off script, still not sure why, rambled on for a bit but were flowing and in character. Prompt was going crazy in the wings trying to work out what to do if called. Third character entered early and put them out of their misery and back on track.
Reflecting on all of the above, I come down on the side of "don't interrupt unless asked", even if actors are way off beam. Most casts will pull together and rescue each other. Where a prompt is not provided during the season it's my experience that this is particularly the case. Some actors just have the gift of being able to ad lib and thus, can help out those in trouble. I still feel sorry for the author's mangled script, particularly if I am the culprit!
"Papa, where is Mama? They tell me she has gone away, where is she?"
NaSun, 25 Nov 2007, 03:53 pm
I agree with the above - a
I agree with the above - a good prompter will not only know the script, and recognise actual blocked pauses, but will also know the actors: there are a great many actors who I've worked with who will change lines on the fly. So long as they get cues right (both for other actors and for the techies), then that's ok. Knowing the actor, their habits, and their response to when they lose their lines, is the most important thing.
In my experience, and opinion, actors should be prompted only up until tech run. By tech run, there's usually no one left to prompt backstage, and if they don't remember lines then they'll have to improvise onstage anyway. They have to learn how to save themselves... Although this is coming from an SM point of view. Generally speaking, the actors that I've worked with have always managed to learn their lines extremely well, and if/when they get lost, managed to get themselves back on track without help.
Also: most actors I work with actually prefer not to be prompted, and spend time during rehearsals making up memory exercises and tricks to help them learn what line goes where and what to do if they forget it. It also helps that many of their fellow actors remember the other person's lines, and will often help get things back on track.
I think a good prompter will recognise all of that, and be aware of the dynamics of the group, the performer who's forgotten their lines, as well as being aware of the script and action on stage.
Sticky Apple Legs
www.thepromptcopy.com/sal
Puppets in Melbourne
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JustSuseSun, 25 Nov 2007, 11:41 pm
I refuse to use a prompt
I always state loud and clearly, with any play that I direct, that there WILL BE NO PROMPT. I hate prompts. Hate hearing people being prompted, hate being prompted myself, hate being asked to prompt other people. Actors tend to rely on being prompted if they get into trouble, it can lead them to not worrying too much if they haven't quite got their lines down. Not Good Enough! The last week of any of my plays I refuse to let anyone be prompted - if they fall in a hole they can damn well get out of it. I insist that everyone on stage at any given moment is equally responsible for keeping the flow going. I insist that all actors must know the STORY, as well as their own lines. This is the only way to safeguard the flow. I too, recently saw a play here in Perth where the leading lady was prompted completely unnecessarily - she was obviously pausing. Had it been one of my plays the person who prompted her would have lost some blood and hair as a result.
Freddie BadgeryMon, 26 Nov 2007, 10:29 am
The only time
The only time I was ever prompted was when I was all of thirteen years old. I was delivering a monologue as part of a school production and had paused for a moment for dramatic effect, when the teacher who was doing the prompting (whilst sitting in the front row, I might add) called out my next line, loudly and clearly.
I don't think she ever got over the look I gave her.
Needless to say, I've always felt that an actor should be able to remember their lines, or, if they dry up, find a way around it. You fall in a hole, you climb back out of it again. It's all part of evolving as an actor.
I'm not sure about blood and hair, but anyone who prompted me mid flow would definitely find themselves on the receiving end of a 'meaningful look'.
Freddie
The Rocking Jedi Badger
LabrugMon, 26 Nov 2007, 10:50 am
Promptly Remembered
When to prompt - During rehearsals and at no other time, unless there is a theatrical need for a prompt. For example, I took part in a one act play many years ago where we slap-sticked everything up a notch or two. We decided to have a prompt as a part of the show. We made a thing of it.
I do not believe in prompts during a show. It creates a safety net where the actor may get complacent or lazy. It can break the suspension of belief for the audience whom I believe expect higher levels or realism than compared to decades, even centuries past.
Absit invidia
Jeff Watkins
Perth based Actor/Performer
Fight/Sword Choreographer
Virgin Director
LogosMon, 26 Nov 2007, 10:53 am
Having just reread my post
Having just reread my post up above I see it could be taken to believe that I believe in prompts. I don't. When I direct I stop prompts at least 10 hours of rehearsal out of opening night. I do not provide a prompt at all.
Is that all there is? Well if that's all there is my friend, then let's keep dancing.
www.tonymoore.id.au
stingerMon, 26 Nov 2007, 12:10 pm
Write As You Mean
Labrug said:
"It can break the suspension of belief for the audience whom I believe expect higher levels or realism than compared to decades, even centuries past."
Did he mean 'disbelief' rather than 'belief' and 'of naturalism' instead of 'or realism'?
If so, is this something new, or do audiences' expectations go in cycles, like fashions?
Ssstinger>>>
LabrugMon, 26 Nov 2007, 12:20 pm
Trust you ;-)
Suspension of belief vs realism. I meant suspension of belief and I guess naturalism would have been better. Trust you to pick that one up Stinger ;-)
What I was trying to get at is that personally, as an actor and knowing there is a prompt there, I find that it creates an unreal situation for me. If I as the actor am feeling that way, then it must in some way translate to the Audience and, I would think, to the detriment of the performance. Shows I have seen where a prompt is used, actors tend to telegraph their cues more, portray themselves with less energy, lose much of their spontaneity, and so on and so forth. When there is no fall back but each other, then the feeling of teamwork and energy is part of what keeps the show running.
Besides, having a whispered (or not) voice off-stage saying "I should throttle ..." from an audience point of view can be very off-putting, especially when the show is some sort of dramatic thriller.
Absit invidia
Jeff Watkins
Perth based Actor/Performer
Fight/Sword Choreographer
Virgin Director
crgwllmsSun, 2 Dec 2007, 10:39 pm
Disbelievable
I believe the term is "suspension of disbelief".
An audience, having paid for a ticket, walked into a theatre or cinema, and having read who's in the cast of the play or film, is not likely to really believe that what they are about to watch is reality. They are therefore in a state of disbelief.
However, in order to enjoy the story and let themselves be transported into whatever fantasy world we are all trying to create, audience and cast alike all agree to ignore this disbelief, and pretend that the characters and situations are real. It doesn't mean we suddenly believe. We have simply 'suspended our disbelief'.
Meanwhile, on the subject of prompts, I have never had an official prompt in any professional play over the past 20 years (apart from during rehearsal).
That's not to say I haven't occasionally needed one, it simply means that there is no magic person waiting in the wings watching the script for us. You get yourself and your fellow actors out of trouble the best way you can.
Of course, this has varying degrees of success...
Luckily, because an audience is already suspending their disbelief, it's no big shock to them if they see something go wrong and then get patched up again...they never actually believed you in the first place, and as soon as you're back on track, they'll go back to their suspending.
Cheers,
Craig
~<8>-/====\---------
LabrugMon, 3 Dec 2007, 09:42 am
Liquid Paper
I sit corrected. Good to hear from you Craig.
Absit invidia
Jeff Watkins
Perth based Actor/Performer
Fight/Sword Choreographer
Virgin Director
Walter PlingeThu, 13 Dec 2007, 07:04 pm
Anti-prompt
I recall being prompted for a line I knew perfectly and was only pausing on. The director had suggested a lengthy dramatic pause. Unfortunately, the prompter had not rehearsed with us and didn't seem to have a concept of theatre. It was irritating not because it suggested I didn't know the line, but it interrupted an intense moment needlessly.
Walter PlingeFri, 14 Dec 2007, 02:18 am
Prompt
I find it inconceivable that a prompt would not rehearse with a cast and thus know when pauses were part of the performance. To accuse somebody with no rehearsal time of having no concept of Theatre is a tad precious, I would like to see how you would perform with no rehearsal time. To drop a prompt at such a late stage is something to discuss with the director.
Walter PlingeFri, 7 Mar 2008, 12:20 am
Yes - Please Prompt
I believe totally in prompts... In fact I directed 'Lear’ last year at the Shaftsbury and all I used were prompts. No actors... just prompts in the wings prompting. at one point in ACT II SC IV.. one particular prompt forgot the line 'words thine mus'dth remember me not'(The silence was silent) and had to be prompted by another prompt on the other side of the stage.. A great save I felt. I congratulated the prompt and bought her a small Jack Russell, which ironically she named.. you guessed it.. 'Terrence'... so prompting is vital... extremely... Up the prompts and get rid of the Actors...
Forget me not
The Ripper
PokeyFri, 7 Mar 2008, 02:00 pm
I dislike prompts. I find
I dislike prompts. I find them tacky and unnecessary, beyond the rehearsal process. As an audience member, hearing prompting disturbs me and takes me out of the theatrical moment. It also brings to your attention the limitations of the actor.
As an actor, although I have not experienced this a lot, I would expect to improvise until I'm back on track (with the help of the other actors onstage), instead of resorting to prompting. This is part of acting. Sometimes you have a mental blank and the words don't come, so a big part of acting is pulling yourself out of this situation without losing character. And a big part of ensemble acting is working as a group to overcome moments like this.
Also, I'd hate to be in the situation where I am prompted while I am simply pausing for effect, or when I feel that I have to rush my dialogue in order to avoid giving off the idea that I may have forgotten my lines.
Walter PlingeFri, 7 Mar 2008, 05:49 pm
Pausing for effect...
Pausing for effect... PAUSING FOR EFFECT.... Then you are not acting... you are merely self endulging into world of YOU!! and NOT (May I Say) Your AUDIENCE!!! PAUSING FOR EFFECT... What effect may that be? A sound effect? A tear from an easily pleased audience member!!! A laugh? Pokey! I am bitterly disappointed with you. Pausing for effect!!! Unheard of.
Stop doing the hokey pokey and start acting properly!!! Or get out. GET OUT of the theatre and don't come back until you have stopped pausing for EFFECTS!!!
The ripper
(He'll rip ya)
LogosFri, 7 Mar 2008, 07:32 pm
Ripper, as a director of
Ripper, as a director of some standing I am actually speechless. There are man times an actor pauses because of directorial instructions, because of heightening a moment. To allow their character to digest an issue or a statement. Frankly ripper if you do not understand the technical expression pausing for effect then you are not qualified to comment.
Is that all there is? Well if that's all there is my friend, then let's keep dancing.
www.tonymoore.id.au
Walter PlingeFri, 7 Mar 2008, 07:56 pm
Well I hope you're not
Well I hope you're not speechless while you direct.. or maybe you're just pausing too 'For directional effect'.. A director of some standing? Maybe I have witnessed an event? Where there any pauses? I certainly hope you don't direct in the suit.
Is that all there is? Well if that's all there is my friend, then let's keep pausing.
www.tonymoorepausing.id.au
The Ripper
'He'll rip ya'
LogosFri, 7 Mar 2008, 08:41 pm
Aah we have a wit amongst
Aah we have a wit amongst us or maybe a half wit. Either way I shouldn't bother as what passes as your wit is certainly a blunt instrument.
Is that all there is? Well if that's all there is my friend, then let's keep dancing.
www.tonymoore.id.au
Walter PlingeFri, 7 Mar 2008, 09:16 pm
Calling someone's mind or
Calling someone's mind or wit a blunt instrument is a bit of a cliché Logos.. You by the way are razor sharp.. RAZOR SHARP!!! Just reading your outstanding response has cut me deeply brother..
The Ripper
'He'll cut you'
LogosFri, 7 Mar 2008, 10:09 pm
I felt that all a cliche
I felt that all a cliche needed was a cliche.
Is that all there is? Well if that's all there is my friend, then let's keep dancing.
www.tonymoore.id.au