Learning lines?

The method I use most often is to record things on tape. (Or rather, on computer, which means I carry the recordings of scenes as mp3s on my iPod/iPhone.) The main thing to avoid, as some have pointed out, is the tendancy to learn the inflections you record, making it hard to then 'unlearn' any bad habits in your delivery of the lines. The way I avoid this is to record all of my lines in a half-pace monotone. No inflection or characterisation. Then I am still completely open to the new ways of line delivery I'll discover naturally in rehearsal. (The only exception would be if I had to learn an accent, in which case I'd record it in the accent I needed to learn). I record the entire play, not just my lines. (..Well, I record everything that's said while I'm ONSTAGE. Feel free to skip big chunks if they only happen while you're in the dressing room). It's always better when I am completely familiar with the play, rather than just my own part. But I speed-read everyone else's lines, only slowing down for the last few words of my next cue. As I listen back, I picture where I am and what I am doing as I listen to the others' lines being read in double-time. As the sentence slows down I am forced to focus on my cue lines, which helps me remember them. And then as my own lines are being said half-pace and in a low dirge, I speak over the top of the recording in my real character voice. At first I may only be just keeping up, or may even be behind the recording, simply parroting what is being said. But soon I will be able to speak my lines ahead of the slow recording, hearing any mistakes, trying to get each line out perfectly before the recording catches up. I force myself to think of the links between the thoughts, to learn each block of speech. But I don't have to think further ahead than the next cue, because the recording will come in again with the other characters' lines. Eventually I can speed-read through all of my lines on any given cue. This obviously has no bearing upon learning the pacing of a scene, but knowing that I can deliver the lines in a speed run means it's far easier to slow down in rehearsal and think about the justified delivery. It's often helpful to actually walk through my actions as well (on the set if possible), while listening to the recording on headphones. Matching a line to the physical movement and blocking helps cement it in body memory. Listening to the whole play often means I know everyone else's speeches fairly well. If ever the show stumbles and someone misses a cue, I know enough of what's supposed to be said to be able to get us back on track. Once I have this recording, I can play it in the car, while doing housework, etc. On more than one occasion I have gone to bed with my earphones on and the mp3s on continual repeat. Anything to drive the play into my subconscious. Doing this has allowed me to learn a major role in a one act play overnight (...found out I was understudying at 4pm, went onstage at 11am the next day!). And it helped me to learn a 20min solo performance in one week. (Harder, because I couldn't rely on others' cues). Mp3s are great because you can break them into chapters for particular scenes, or if a line gets changed it's not hard to edit the recording to keep it up to date. As a variant I play the scenes back on random play, to teach myself to respond to any cue at any time. (Not so important for a linear play, but very useful for a film script where the scenes will probably be shot out of sequence). . When I performed the 20 minute monologue last year (my first solo piece) I was coached through a new (to me) technique by director Lis Hoffman. Even though I only had a week to learn the piece, the first few rehearsal sessions were not spent looking at the script at all, but by looking at the character, developing a complete backstory, finding parallels in my own life and real-life role models I could base my characterisation on. We'd improvise and role-play getting in the mind of the character, before we even thought about looking at any speech. When it came to finally working with the text, I was emotionally prepared for the thought processes of the character, and the lines really did fall into place so much more easily. Learning the lines is only the first part of KNOWING the part. If you think you're ready just because you can parrot-off your lines, that's when you're at risk of drying up when someone doesn't deliver a cue, or something else distracts you onstage. Knowing the lines perfectly is what helps you to THINK like the character, and learning how to think like them is what enables you to act their part. Cheers, Craig ~<8>-/====\---------