Listen with the audience's ears

An interesting point came up in a conversation the other day with several directors. I've heard it said that one of the key skills to be able to deliver your lines, and to act, is to LISTEN. This is true. The more you are able to listen to your other actors, the more you will be able to appear to be thinking 'in the moment', and deliver truthful reactions. Your dialogue and thought processes all stem from being able to listen in character. Rather than thinking ahead and being in danger of 'signalling' your intentions, the actor who is carefully listening to his fellows can appear to be experiencing their thought processes and reactions there and then onstage; the basis of good 'believable' drama. But there is a pitfall. It often comes from actors who are comfortable in their parts, and who have had the benefit of a long season (or many rehearsals). As an ensemble, they begin to be finely attuned to each other's performance. As they listen and respond to each other, they pick up on each other's energy. They become better and better at listening to each other, they start to develop split-second timing, and the whole performance becomes more and more polished. Cues become tighter, delivery becomes slick, the whole performance gathers momentum... What they forget is that the audience is NOT so good at listening! It's sometimes NOT an advantage for the thought processes to get too slick. When actors are practiced at listening to each other in character, they will believe they are giving true and believable delivery of their lines. (And become very unwilling to be convinced otherwise!) It may in fact, be true. But it doesn't necessarily mean it's best for the play. For instance, in a performance of Shakespeare, it's often better for the first few scenes to be delivered more carefully, perhaps slower and clearer than normal, because you need to get the audience used to hearing the enhanced language, and to let them catch on to all the new characters and ideas being introduced. Later in the act, when they are attuned to the language, the pace can be picked up. Similarly in any play (not necessarily only at the beginning) there may be moments when the information is going to arrive faster than the audience is ready to process it. It's not enough that the actors are listening to each other and delivering truthful reactions. That still may appear too fast from the audience's perspective. You need to listen, yes, but with the AUDIENCE'S EARS. In the rehearsal process, that's what a good director will be there for. But too often once a show goes up, the cast are left to fend for themselves. As your performance develops, always keep in mind the perspective of the audience listening for the first time. There will be moments when it seems 'natural' to deliver lines at a certain pace, and feel awkward or stylised to maintain a slower delivery. But resisting the urge to be 'natural' is what comes from having command of better technique. A play with tight cues and fast dialogue is, in my opinion, usually more enjoyable than one that is unnecessarily drawn out. But it's a fine line, which the best actors learn how to walk without crossing. Always listen, but with the ears of your audience. Cheers, Craig <8>-/=====\------