Posts Tagged ‘drama’

Duet acting scripts? can’t find one? write your own

{ March 21, 2008 @ 6:40 pm } · { Acting scripts }
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A do it yourself script… hmmm? This article does contain plenty of for example paragraphs.

Duet acting scripts are difficult to find on the Internet. If you’ve done any poking around at all in search of one, you already know this. But there is an alternative. More important, it’s an alternative that will not only help hone your acting skills, but also aid you in understanding your characters even better.

The solution?

Write your own duet acting scripts.

I know. I know. Writing’s scary. But this doesn’t need to be a painful process or even a particularly difficult one. In fact, it can and should contribute to your inventory of acting skills by forcing you to become more in touch with and more observant of the world of characters already all around you. Especially those who might otherwise go unnoticed.

And that’s the key to writing your own duet acting scripts: observation. The better you are at observing, the easier the writing is going to be.

Ready to get started?

The easiest, most direct path to writing your own scripts is to start a swipe file. If you aren’t familiar with a swipe file, this is a term that’s often used in marketing and copywriting circles. A good copywriter will save ads, brochures, and mailers that he comes across so he can learn from them and refer back to them when he’s developing his own ad campaigns. Now, he doesn’t just copy this material and present it as his own. He simply draws upon it for inspiration and guidance.

This is what you should be doing, too. You won’t be looking at ads, of course, but you will be carefully observing the interactions of the people around you and recording your observations.

For example, you’re in the checkout lane at the store, picking up a few groceries, and the checker is chatting with the bagger. They’re talking about the date the checker went on the night before and how it was a dud. That’s a duet script.

For example, you take your dog into the veterinary office for his annual series of shots and there are two other dog owners in the waiting room. One has a dog with a broken leg that’s healing. The other has a puppy that’s tugging on the chain, full of energy, wanting to play with the healing dog. Gradually, you see the tension growing between the two dog owners until it suddenly spills over into a conversation about responsible dog ownership. That’s a duet script.

… continue reading this entry.

Acting technique visited

{ March 21, 2008 @ 6:29 pm } · { Acting articles }
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A popular Italian comedy, “Troupes of the commedia dell’arte was very popular throughout Europe in the early 1600s. They would work on makeshift stages and without scripts. These companies, which included women actor’s spread a new wave between the actor’s and audiences. Actor’s improvised their own words and comic actions using a basic plot and character types, which created theatrical creativity and would capture the interest of the audience as a whole group. This was so unlike the opera or literary theater, where the emphasis from the audience concentrated on a playwright’s speeches or individual. Scenic displays and literary concepts were not common, thus inspiring the art of acting.

Theatergoers in England by the beginning of the 17th century learned how to distinguish Hamlet by actor-manager, Thomas Betterton. This was accomplished by other productions of Shakespeare’s plays. Using different staging of familiar and classical plays sharpened spectator’s senses. Good acoustics were designed into theater halls to help performers to be heard differently and to have more subtle and natural reflections. Visual details of a performance were easily perceived and critiqued with the introduction of indoor stage lighting. Individual actor’s faces and hands were then displayed by the indoor stage lighting.

Charles Macklin and his student David Garrick became one of the first modern actors on the British stage in the 18th century. Commedia-like farces and pantomime was Charles Macklin’s background and why he was hired, based his character Shylock (a Jewish businessman in Shakespeare’s “The Merchant of Venice”) on Jews in London. Lifelike details of movement and speech were added to written text. These details might not have been noticed 50 years earlier if not for the stage lighting, acoustic changes and other technologies.

Under better lighting conditions and more plausibility, David Garrick continued natural acting. Mimicry was brought to the stage through Garrick’s practices of imitating facial expressions of actual people. In his performance of Shakespeare’s King Lear, Garrick used a crazed neighbor to reenact the accidental killing of his infant daughter. Garrick never dropped his character during a performance and he would listen and react in character to all the dialogue around him. Because of this, he was very popular with theatergoers.

… continue reading this entry.

The Royal Opera House

{ March 9, 2008 @ 6:20 pm } · { Opera, Theater houses }
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The Royal Opera House is the third theatre on the Covent Garden site. In 1728 an actor/manager by the name of John Rich commissioned “The Beggars Opera” from John Gay, a poet and dramatist. The success of this production helped provide the capital for the first Theatre Royal to be built and on the 7th December 1732, it had its opening night.

The theatre was primarily a playhouse for the first hundred years or so, with King Charles II granting John Rich and the Theatre Royal in Covent Garden, as well as the Drury Lane theatre, almost exclusive rights to present drama in London. Rich also began developing pantomime as an art form which led to the tradition of pantomimes being performed every Christmas – a tradition that lasted until the 1930’s at Covent Garden and still continues today at theatres across the country.

The first serious musical works to be performed at Covent Garden were the operas of Handel, who gave regular seasons there from 1735 until his death in 1759. Unfortunately his organ, which he had bequeathed to John Rich, was burned, along with most of the theatre, in a fire in 1808.

The rebuilding of the theatre began at once and, in September 1809, the second Theatre Royal opened in Convent Garden with a performance of Macbeth. To attempt to recoup the costs of rebuilding the theatre, ticket prices were raised. However, after two months of disgruntled theatre goers disrupting performances with booing and hissing, prices were forced back down.

In 1846, a dispute with the management at Her Majesty’s Theatre (the exclusive home to ballet and opera in London at the time), conductor Michael Costa aligned himself with Covent Garden, taking most of his company of singers with him. The auditorium at Convent Garden was completely remodelled and the theatre re-opened in April 1847 as the Royal Italian Opera.

Fire struck again in 1856, completely destroying the theatre, and work on the third and present theatre began in 1857, before re-opening in 1858. Just over thirty years later, in 1892, the theatre officially became the Royal Opera House, with summer and winter seasons of ballet and opera produced regularly. This carried on until the First and Second World Wars, when the Royal Opera House became a furniture repository and a dance hall, respectively.

Several renovations took place in the 1960s including improvements to the amphitheatre, but it was clear that the theatre needed a complete overhaul. Despite being given land adjacent to the theatre to make room for the renovations in 1975, it wasn’t until twenty years later before work began when the newly created National Lottery granted the Opera House £58.5 million towards the rebuilding costs. The new Royal Opera House was opened in December 1999, with two new, smaller performance areas added to the theatre as well as the now historic main auditorium.

Now open all day and not just for evening performances, visitors come from all over the world to the theatre, packing the nearby hotels in London, and enjoying not only the wonderful shows, but also the beautiful interior of a historic building. The views that the Royal Opera House commands across London from the Amphitheatre Terrace have delighted tourists and guests since it’s re-opening, almost as much as the productions performed.