horrible acting scenario - what would you do?
Wed, 8 June 2005, 01:38 pmWalter Plinge13 posts in thread
horrible acting scenario - what would you do?
Wed, 8 June 2005, 01:38 pmIn my experience as an actor, there's nothing worse than one of your castmates forgetting their lines - and I know that I'm a regular offender. It happens, and I think getting out of one of these situations is one of the skills that separates a good actor from a great one.
What do you think should be done in this situation? Two actors are on stage, someone goes blank and in the confusion a page of dialogue gets skipped. The page is important - a lot of what happens in the rest of the play relies on the dialogue that was missed.
Should the actors attempt to reintroduce the dialogue at an appropriate point down the track, potentially saving the story but running the risk of spoiling a second scene? Or should they ignore the error and concentrate on making the rest of their performance go according to script?
This situation happened to me last week, and we made a decision to reintroduce the dialogue at a particular point in the following scene. It obviously wasn't perfect, probably spoilt the flow of the second scene, and our deliveries were not as good as they ordinarily would have been, but at least the rest of the story made more sense.
Ever since then, I've been wondering whether we did the right thing or not, and I'd value some feedback about this in case it ever happens to me again. What do you think?
What do you think should be done in this situation? Two actors are on stage, someone goes blank and in the confusion a page of dialogue gets skipped. The page is important - a lot of what happens in the rest of the play relies on the dialogue that was missed.
Should the actors attempt to reintroduce the dialogue at an appropriate point down the track, potentially saving the story but running the risk of spoiling a second scene? Or should they ignore the error and concentrate on making the rest of their performance go according to script?
This situation happened to me last week, and we made a decision to reintroduce the dialogue at a particular point in the following scene. It obviously wasn't perfect, probably spoilt the flow of the second scene, and our deliveries were not as good as they ordinarily would have been, but at least the rest of the story made more sense.
Ever since then, I've been wondering whether we did the right thing or not, and I'd value some feedback about this in case it ever happens to me again. What do you think?
Walter PlingeWed, 8 June 2005, 01:38 pm
In my experience as an actor, there's nothing worse than one of your castmates forgetting their lines - and I know that I'm a regular offender. It happens, and I think getting out of one of these situations is one of the skills that separates a good actor from a great one.
What do you think should be done in this situation? Two actors are on stage, someone goes blank and in the confusion a page of dialogue gets skipped. The page is important - a lot of what happens in the rest of the play relies on the dialogue that was missed.
Should the actors attempt to reintroduce the dialogue at an appropriate point down the track, potentially saving the story but running the risk of spoiling a second scene? Or should they ignore the error and concentrate on making the rest of their performance go according to script?
This situation happened to me last week, and we made a decision to reintroduce the dialogue at a particular point in the following scene. It obviously wasn't perfect, probably spoilt the flow of the second scene, and our deliveries were not as good as they ordinarily would have been, but at least the rest of the story made more sense.
Ever since then, I've been wondering whether we did the right thing or not, and I'd value some feedback about this in case it ever happens to me again. What do you think?
What do you think should be done in this situation? Two actors are on stage, someone goes blank and in the confusion a page of dialogue gets skipped. The page is important - a lot of what happens in the rest of the play relies on the dialogue that was missed.
Should the actors attempt to reintroduce the dialogue at an appropriate point down the track, potentially saving the story but running the risk of spoiling a second scene? Or should they ignore the error and concentrate on making the rest of their performance go according to script?
This situation happened to me last week, and we made a decision to reintroduce the dialogue at a particular point in the following scene. It obviously wasn't perfect, probably spoilt the flow of the second scene, and our deliveries were not as good as they ordinarily would have been, but at least the rest of the story made more sense.
Ever since then, I've been wondering whether we did the right thing or not, and I'd value some feedback about this in case it ever happens to me again. What do you think?
CrispianWed, 8 June 2005, 02:14 pm
Re: horrible acting scenario - what would you do?
Every show and their narrative is different, so I would find it hard to generalise a rule regarding what one should do.
I think one of the most important things to remember is...don't make the solution too complicated or you risk affecting everybody else's performance.
Maybe the solution itself is to just get on with it and forget what has just happened.
I have done shows when pages of dialogue has been skipped or similar and some cases the audiences haven't noticed. In other instances, friends have seen the goof onstage and blamed it on 'poor' writing by the author - hehe, sometimes ignorance is bliss :)
Look, I wouldn't dwell on it. Rather than focussing on what to do when it happens, perhaps you should focus on what you should be doing during the rehearsal process to make sure that it doesn't happen at all.
Cheers,
Crispy.
I think one of the most important things to remember is...don't make the solution too complicated or you risk affecting everybody else's performance.
Maybe the solution itself is to just get on with it and forget what has just happened.
I have done shows when pages of dialogue has been skipped or similar and some cases the audiences haven't noticed. In other instances, friends have seen the goof onstage and blamed it on 'poor' writing by the author - hehe, sometimes ignorance is bliss :)
Look, I wouldn't dwell on it. Rather than focussing on what to do when it happens, perhaps you should focus on what you should be doing during the rehearsal process to make sure that it doesn't happen at all.
Cheers,
Crispy.
John MeehanWed, 8 June 2005, 09:28 pm
Re: horrible acting scenario - what would you do?
I've just finished my first show after quite a while and I am relieved to say that we didn't have too many missed lines at all during the run!
I did remember a play performed quite a few years ago where my co-actor said a line which missed nearly all my dialogue for the scene. He suddenly looked at me in shock as he realised what he had done, but I made an ad-lib which gave him his original missed line and we got back on track. The audience didn't spot it but there was relief all round at the interval.
I suppose that, if the missed dialogue is crucial to the later action, then you should try and get it in somewhere as early as possible. If you can work around it, then do that.
By the way, I've read your response to the reviewer of your show and I think you have shown great objectivity. Best for the future.
Johno
I did remember a play performed quite a few years ago where my co-actor said a line which missed nearly all my dialogue for the scene. He suddenly looked at me in shock as he realised what he had done, but I made an ad-lib which gave him his original missed line and we got back on track. The audience didn't spot it but there was relief all round at the interval.
I suppose that, if the missed dialogue is crucial to the later action, then you should try and get it in somewhere as early as possible. If you can work around it, then do that.
By the way, I've read your response to the reviewer of your show and I think you have shown great objectivity. Best for the future.
Johno
David GourleyFri, 10 June 2005, 06:43 pm
Re: horrible acting scenario - what would you do?
just know the story and plot back to front so that you can get the general jist of whats happening onstage with your adlibs
Walter PlingeSun, 12 June 2005, 10:57 am
Re: horrible acting scenario - what would you do?
you wouldnt wanna miss any dialogue in a Shakespeare! i'd love to see someone ad-lib that!
crgwllmsSun, 12 June 2005, 05:54 pm
Re: horrible acting scenario - what would you do?
Knowing how to improvise is an important skill for a performer...being aware of the story that's being told and what an audience needs to know. I agree with Crispy that there is no general advice to give...every situation will require its own response, and good judgement on the part of the performer as to IF and HOW they rectify the mistake. Usually a mistake only become obvious when you attempt to correct it! Making a correction usually depends not only on your own skill, but in trusting that the others onstage will go with you and support the improvisation, getting it back on track. Some casts are very good at this, others will struggle. The main thing is knowing the story - both yours and the other character's - really well...in which event forgetting your lines also becomes less likely.
Corey wrote:
>
> you wouldnt wanna miss any dialogue in a Shakespeare! i'd
> love to see someone ad-lib that!
You may be surprised how often it actually happens. Good improvisers who are well familiar with the style can easily cover for lost lines, and only those familiar with the text would recognise the difference.
Michael Loney told me of a time he'd been onstage with someone who'd dried onstage, and rescued the scene by saying, 'Let us stand some ways apart and speak of things unknown'. He took the actor off to the side, softly told him what line to say, and they continued...I'm sure most of the audience would hardly have blinked.
Cheers
Craig
Corey wrote:
>
> you wouldnt wanna miss any dialogue in a Shakespeare! i'd
> love to see someone ad-lib that!
You may be surprised how often it actually happens. Good improvisers who are well familiar with the style can easily cover for lost lines, and only those familiar with the text would recognise the difference.
Michael Loney told me of a time he'd been onstage with someone who'd dried onstage, and rescued the scene by saying, 'Let us stand some ways apart and speak of things unknown'. He took the actor off to the side, softly told him what line to say, and they continued...I'm sure most of the audience would hardly have blinked.
Cheers
Craig
Walter PlingeMon, 13 June 2005, 09:00 pm
Re: horrible acting scenario - what would you do?
lol... and who say's actors hav no brains!
one of my acting teachers did one of the same things in a production she did at nida, it was a classical piece, a checkhov i think, and she used exposition to basically dish out her scene partners line's, and the audience was none the wiser!
speaking of improv, does anyone know of any places that do theatre sports? or just plain improv classes?
one of my acting teachers did one of the same things in a production she did at nida, it was a classical piece, a checkhov i think, and she used exposition to basically dish out her scene partners line's, and the audience was none the wiser!
speaking of improv, does anyone know of any places that do theatre sports? or just plain improv classes?
Walter PlingeTue, 14 June 2005, 09:15 am
Re: horrible acting scenario - what would you do?
Isn't a situation like this when a good stage manager comes to the fore? Prompting seems to be a lost art now doays sadly
crgwllmsTue, 14 June 2005, 01:37 pm
Re: learn lines Promptly
walter plinge wrote:
>
> Isn't a situation like this when a good stage manager comes
> to the fore? Prompting seems to be a lost art now a days, sadly
I'm not so sad. Having to prompt from offstage implies that no one onstage is capable of solving their own problems, and I lose respect for the performers. When I hear a cue called from the wings it disappoints me and makes things sound decidedly amateurish. The embarrassment of all concerned is highlighted and it distracts me from the play.
If I don't notice an error covered well, I get to stay in the fantasy of the story. And even if I do notice an error, when I witness the performer stay in character and solve the problem as efficiently and professionally as possible, I am more inclined to respect the performer and not let it distract me. In fact it becomes one of those 'moments' of live theatre where you appreciate the uniqueness and spontaneity of live performance.
In my personal experience, 70% of my professional appearances have been without ANY stage manager, and many of the theatres (Subi Theatre Centre is a good example) don't have anyone in the wings; the stage manager is out of reach in the bio-box behind the audience. In my view the benefits of designs-other-than-pros-arch outweigh the advantages of having a prompt corner. Without the safety net to fall back on, you learn to look after yourself.
Of course, that's not to say I haven't dried. The best stage manager couldn't have helped me when she was sitting about 150m away during a Shakespeare performance in Kings Park...and even my closest actor was about 10m away! I stumbled and stuttered, eventually repeating something I'd already said before other actors helped me get back on track. Not something I'd wish to repeat, but a valuable lesson learnt.
Don't just learn your lines; REALLY learn your lines.
Cheers,
Craig
>
> Isn't a situation like this when a good stage manager comes
> to the fore? Prompting seems to be a lost art now a days, sadly
I'm not so sad. Having to prompt from offstage implies that no one onstage is capable of solving their own problems, and I lose respect for the performers. When I hear a cue called from the wings it disappoints me and makes things sound decidedly amateurish. The embarrassment of all concerned is highlighted and it distracts me from the play.
If I don't notice an error covered well, I get to stay in the fantasy of the story. And even if I do notice an error, when I witness the performer stay in character and solve the problem as efficiently and professionally as possible, I am more inclined to respect the performer and not let it distract me. In fact it becomes one of those 'moments' of live theatre where you appreciate the uniqueness and spontaneity of live performance.
In my personal experience, 70% of my professional appearances have been without ANY stage manager, and many of the theatres (Subi Theatre Centre is a good example) don't have anyone in the wings; the stage manager is out of reach in the bio-box behind the audience. In my view the benefits of designs-other-than-pros-arch outweigh the advantages of having a prompt corner. Without the safety net to fall back on, you learn to look after yourself.
Of course, that's not to say I haven't dried. The best stage manager couldn't have helped me when she was sitting about 150m away during a Shakespeare performance in Kings Park...and even my closest actor was about 10m away! I stumbled and stuttered, eventually repeating something I'd already said before other actors helped me get back on track. Not something I'd wish to repeat, but a valuable lesson learnt.
Don't just learn your lines; REALLY learn your lines.
Cheers,
Craig
Walter PlingeTue, 14 June 2005, 02:32 pm
Re: learn lines Promptly
I agree with Craig on this one.
Any time I hear a prompt it reminds me of bad repertory and/or school plays. More often than not the audience is none the wiser to a bit of clever ad libbing, or even pauses where there shouldn't be while the actor works out where they should be in the script.
Only people who've seen the performance more than once, or have a clse affiliation with the production would pick up on it, if the actors are good enough to cover well.
Kath
Any time I hear a prompt it reminds me of bad repertory and/or school plays. More often than not the audience is none the wiser to a bit of clever ad libbing, or even pauses where there shouldn't be while the actor works out where they should be in the script.
Only people who've seen the performance more than once, or have a clse affiliation with the production would pick up on it, if the actors are good enough to cover well.
Kath
Walter PlingeTue, 14 June 2005, 02:44 pm
Re: learn lines Promptly
Hi guys
I agree that I hate hearing lines being prompted from the wings. What I don't agree with is the idea that it reminds you of school plays. Not all school plays are really awful pathetic little pieces of drama done by students not wanting to be up on stage. The guys who haven't learnt their lines because they are not interested. The school is just doing a "little play" so that the parents can come and see little Johnny on stage.
I am not sure when the last time that a lot of people went to see a school play was but I tend to think it is about time that some people did. My school doesn't use a prompt and we haven't done so for the last 20 years. I am very proud of the work that my students do and I know that I am certainly not the only drama teacher that thinks that. '
Maybe it is about time that we stopped remembering back to what it was like 30 yrs ago and stopped running down the idea of the school play. It is without question , at times, better than some amateur theatre.
Kerri
I agree that I hate hearing lines being prompted from the wings. What I don't agree with is the idea that it reminds you of school plays. Not all school plays are really awful pathetic little pieces of drama done by students not wanting to be up on stage. The guys who haven't learnt their lines because they are not interested. The school is just doing a "little play" so that the parents can come and see little Johnny on stage.
I am not sure when the last time that a lot of people went to see a school play was but I tend to think it is about time that some people did. My school doesn't use a prompt and we haven't done so for the last 20 years. I am very proud of the work that my students do and I know that I am certainly not the only drama teacher that thinks that. '
Maybe it is about time that we stopped remembering back to what it was like 30 yrs ago and stopped running down the idea of the school play. It is without question , at times, better than some amateur theatre.
Kerri
Walter PlingeTue, 14 June 2005, 05:23 pm
Re: learn lines Promptly
Hi Kerri,
I actually said it reminded me of "bad" repertory or school plays, not repertory or school plays in general.
I don't remember what theatre was like 30 years ago as I was a foetus then.
Kath
I actually said it reminded me of "bad" repertory or school plays, not repertory or school plays in general.
I don't remember what theatre was like 30 years ago as I was a foetus then.
Kath
crgwllmsWed, 15 June 2005, 03:18 am
Re: in Prompt you
Kerri wrote:
>
> I agree that I hate hearing lines being prompted from the
> wings. What I don't agree with is the idea that it reminds
> you of school plays. Not all school plays are really awful
> pathetic little pieces of drama done by students not wanting
> to be up on stage. The guys who haven't learnt their lines
> because they are not interested. The school is just doing a
> "little play" so that the parents can come and see little
> Johnny on stage.
>
> I am not sure when the last time that a lot of people went to
> see a school play was but I tend to think it is about time
> that some people did. My school doesn't use a prompt and we
> haven't done so for the last 20 years. I am very proud of the
> work that my students do and I know that I am certainly not
> the only drama teacher that thinks that. '
>
> Maybe it is about time that we stopped remembering back to
> what it was like 30 yrs ago and stopped running down the idea
> of the school play. It is without question , at times, better
> than some amateur theatre.
>
> Kerri
Kerri, you must admit - you are a bit exceptional! Of course there ARE an elite few like you who can create some terrific plays, and it happens to be inconsequential that they are done at school.
But the fact that you mention in your first paragraph,
> really awful
> pathetic little pieces of drama done by students not wanting
> to be up on stage. The guys who haven't learnt their lines
> because they are not interested. The school is just doing a
> "little play" so that the parents can come and see little
> Johnny on stage.
indicates that you are well aware of the cliche, and that it still has a fair basis in reality. School plays are a learning experience (frequently for the teacher as much as the students!) and therefore the aims and outcomes are quite different to what most of us would call 'good' theatre. A school play MIGHT be 'good' theatre, but that's often not of highest importance. Quality is often sacrificed for inclusion and participation; allowances are made for the kids who are only there for the ride; the needs of the performance are subjugated to the needs of school assessment criteria; and there is no such thing as sufficient time to develop and rehearse...! Problems are often left unsolved because no one has the proper skill to see them and solve them. Or they solve them in a functional, but uninspired and stereotypical way...perpetuating the 'style' that says 'school play'.
I'm not saying any of this is BAD...it is perfectly functional in a school environment. But it doesn't necessarily result in quality theatre. Or rather, the judging criteria is totally different. The audience will like it for different reasons.
The mindset we have of 'prompting' probably comes from this school environment.... the kid in prompt corner is being included, and is performing a valuable team role...rather than having any relevance to professional standards of theatre.
I remember attending a masterclass in the USA (as a just-out-of-highschool student myself) which absolutely floored me because it totally consisted of the lecturer convincing us that there were "other ways of staging theatre apart from proscenium arch!"...and he was presenting this as if it were an astonishing breakthrough. Having already explored and devised plays in the round, in traverse, in promenade, in the street, in site-specific locations...etc, I found his 'new' ideas rather tedious. At first I allowed myself to think I was culturally superior...and that the Americans were rather blinkered in their view of theatre. It's possibly the spark that convinced me I could pursue this as a career option. But even today I visit schools here that have had brand new facilities built, which virtually preclude any other form of staging but a stereotypical proscenium arch auditorium style theatre. Now of course, this doesn't necessarily mean 'bad', but I have to say it automatically makes me think the words 'school play' in a disparaging way...!
Unfortunately, out in the real world (...is that an oxymoron in a discussion about theatre?), the habits from this school style can persist. Teachers like yourself who have seen and been in a LOT of theatre bring that quality experience back to their school productions, which become decidedly more accomplished. But without that experience, it works the other way...it is the sadly lacking school experience that gets brought forward into some adult theatre efforts.
...Which is to agree with your final sentence.
Cheers,
Craig
<8>-/=====\----------
>
> I agree that I hate hearing lines being prompted from the
> wings. What I don't agree with is the idea that it reminds
> you of school plays. Not all school plays are really awful
> pathetic little pieces of drama done by students not wanting
> to be up on stage. The guys who haven't learnt their lines
> because they are not interested. The school is just doing a
> "little play" so that the parents can come and see little
> Johnny on stage.
>
> I am not sure when the last time that a lot of people went to
> see a school play was but I tend to think it is about time
> that some people did. My school doesn't use a prompt and we
> haven't done so for the last 20 years. I am very proud of the
> work that my students do and I know that I am certainly not
> the only drama teacher that thinks that. '
>
> Maybe it is about time that we stopped remembering back to
> what it was like 30 yrs ago and stopped running down the idea
> of the school play. It is without question , at times, better
> than some amateur theatre.
>
> Kerri
Kerri, you must admit - you are a bit exceptional! Of course there ARE an elite few like you who can create some terrific plays, and it happens to be inconsequential that they are done at school.
But the fact that you mention in your first paragraph,
> really awful
> pathetic little pieces of drama done by students not wanting
> to be up on stage. The guys who haven't learnt their lines
> because they are not interested. The school is just doing a
> "little play" so that the parents can come and see little
> Johnny on stage.
indicates that you are well aware of the cliche, and that it still has a fair basis in reality. School plays are a learning experience (frequently for the teacher as much as the students!) and therefore the aims and outcomes are quite different to what most of us would call 'good' theatre. A school play MIGHT be 'good' theatre, but that's often not of highest importance. Quality is often sacrificed for inclusion and participation; allowances are made for the kids who are only there for the ride; the needs of the performance are subjugated to the needs of school assessment criteria; and there is no such thing as sufficient time to develop and rehearse...! Problems are often left unsolved because no one has the proper skill to see them and solve them. Or they solve them in a functional, but uninspired and stereotypical way...perpetuating the 'style' that says 'school play'.
I'm not saying any of this is BAD...it is perfectly functional in a school environment. But it doesn't necessarily result in quality theatre. Or rather, the judging criteria is totally different. The audience will like it for different reasons.
The mindset we have of 'prompting' probably comes from this school environment.... the kid in prompt corner is being included, and is performing a valuable team role...rather than having any relevance to professional standards of theatre.
I remember attending a masterclass in the USA (as a just-out-of-highschool student myself) which absolutely floored me because it totally consisted of the lecturer convincing us that there were "other ways of staging theatre apart from proscenium arch!"...and he was presenting this as if it were an astonishing breakthrough. Having already explored and devised plays in the round, in traverse, in promenade, in the street, in site-specific locations...etc, I found his 'new' ideas rather tedious. At first I allowed myself to think I was culturally superior...and that the Americans were rather blinkered in their view of theatre. It's possibly the spark that convinced me I could pursue this as a career option. But even today I visit schools here that have had brand new facilities built, which virtually preclude any other form of staging but a stereotypical proscenium arch auditorium style theatre. Now of course, this doesn't necessarily mean 'bad', but I have to say it automatically makes me think the words 'school play' in a disparaging way...!
Unfortunately, out in the real world (...is that an oxymoron in a discussion about theatre?), the habits from this school style can persist. Teachers like yourself who have seen and been in a LOT of theatre bring that quality experience back to their school productions, which become decidedly more accomplished. But without that experience, it works the other way...it is the sadly lacking school experience that gets brought forward into some adult theatre efforts.
...Which is to agree with your final sentence.
Cheers,
Craig
<8>-/=====\----------