Lots of problems will arrive
during a rehearsal…

Lots of methods have been suggested by directors like
Michael Chekhov, Sanford Meisner and Stanislavsky

See table (Page 189)
Visualizing a moment
PROBLEM: Actors are not finding a sense of the entirety of the
performance nor the arc of the character’s journey.
PREPARATION:
1.
2.
3.
Actor finds a comfortable position on chair of floor
Actor closes eyes
Actor clears the slate of the vision in mind’s eye
WARM UP THE IMAGINATION (190)
EXPLORE IMAGERY (190)
APPLY VISUALIZATION TO SPECIFICS OF SCENE (190-191)
Character movement
visualization
Actor is not linking physicality to the inner life of the character
PROMPTS (Given by the director – (pp 191-193)
1.
Find a comfortable position on the floor and close eyes
2.
Visualize character in this position
3.
Relax and breathe
4.
The director should guide the actor through a series of actions
focusing on isolation different parts of the actor’s self
5.
Try to recall these images when you are in the scene, etc.
AS YOU GUIDE YOUR ACTORS THROUGH THESE DISCOVERIES
IN THEIR IMAGINATION, ENCOURAGE THEM TO TRANSLATE
INTO THE ACTION OF THEIR CHARACTER
Exploring a moment with
repetition
#1 The actor is not finding emotional truth in the moment
Consider the Meisner repetition exercise to unlock something
emotional that should be happening in the moment (193) Isolate a
pair of lines and repeat them back and forth to one another. Use
side coaching to guide their reactions.
#2 Responses are not spontaneous; actors are not listening to
one another
This is a more improvisational version of the Meisner exercise.
The actors do not use lines in the script…the purpose is to force
actors to listen and respond (194)
Subtext improvisation
PROBLEM: Scene is all on one level, actors are not playing
subtext
STEPS: Identify the subtext or moment in question
1.
2.
3.
4.
5.
Discuss the subtext
Develop a word that is the essence of the moment
Use the word as the basis for an improvisation
After a series of improvised moments, play the scene as
written
After working with a word, use a phrase or an “I want” or “I
need” statement
Being real
PROBLEM: Actors are pushing (trying too hard)
Inexperienced actors love to push for emotional depth.
The truth is, emotional depth can’t be forced; it can only
be allowed to happen.
To help actors who are overacting or pushing, seat them
in chairs facing one another and guide them with sidecoaching towards naturalness using the text.
If not yet off-book, allow them to do the exercise with
books in hand.
Soap opera exercise
PROBLE: Actors are inexpressive or physically stiff
SOLUTION: Using the melodramatic acting style of soap opera,
actors are encouraged to push towards a deeper connection
with the emotional truth of the scene.
This can be a very silly exercise…after the initial reluctance,
have the actors work to find the emotional truth of the scene
Opera exercise
PROBLEM: Actors lack energy
This works best with inexperienced actors and is aimed at
energizing and raising stakes. It is more fun than emotional.
Encourage the actors to sing through a problematic scene with
faux opera voices…sing all the lines
Encourage them to keep at it until you get them awake and
energized!
Atmosphere
PROBLEM: Actor has no sense of place
IN an exercise, guide your actor(s) to activate the given
circumstances – mood – atmosphere of the scene
Repeat as needed for the different scenes in the play