Acting Theatre Resources

All material must be done from work from one of the following publishers. Click on the name to be taken to the publisher's website.

Broadway Play Publishing

Dramatic Publishing

Dramatists Play Service

Eldridge Publishing

Heuer Publishing

Pioneer Drama

Playscripts, INC

Samuel French

Smith and Kraus

Stage Partners

Stage Rights

Theatrefolk

YouthPLAYS

Or Musicals from one of the following companies

Music Theatre International

Theatrical Rights Worldwide

Samuel French

Rogers and Hammerstein

Tams Whitmark

The Musical Company

Any public domain play written before 1923.

Appeals can be made to the EDTA office for anything not on this list.  See the ITEA Rules for more information.

Monologue and Scene Resources from YouthPLAYS. From Jonathan Dorf

https://www.youthplays.com/monologues.php

https://www.youthplays.com/scenes.php

 

Free for classroom use. If used in competition, purchase a copy of the script then they are royalty free for competition.

Scenes and Monologues from Don Zolidis (available for competition from various publishers.

http://www.donzolidis.com/monologue.html

http://www.donzolidis.com/actorsscene.html

Resources from Dramatic Publishing

https://www.dramaticpublishing.com/browse/scenes-and-monologues - This lists all of the Scenes and Monologues books that DPC carries.

https://www.dramaticpublishing.com/cuttings-special-permissions-101 - Cutting and Special Permission Guidelines

https://www.dramaticpublishing.com/browse/one-act-competition-winners – One Act Competition Winners

The Acting Rubrics

The Acting rubric covers Contrasting Monologues, Duo Scenes, and Group Scenes.  It is broken in to five sections which have equal value on your overall score. For a further look at the categories and how you can improve your score, continue reading.
Acting Transitions
Characterization
Voice
Movement/Staging
Execution
As you are working on your monologue or scenes. It is always helpful to find as much information on the monologue that you can.
This link goes to a monologue information form that students can fill out when working on their monologue.  CLICK HERE for the form.
This link goes to a similar version on duo scenes that students can use when working on their scenes, the form could also work on group scenes. CLICK HERE for the form.

Acting Transitions

Acting transitions includes the following elements
   - A clear slate that includes clear articulation of name, selection, author of selection, and troupe number.
   - Transition into the scene/monologue, transitions between monologues, and a clear final moment of the piece and transition out of the piece.
Recommendations to improve your Acting Transition score.
1. Practice your slate like you do your piece itself.
2. Know how to pronounce your author and selection. If the judge knows the proper pronunciation and you say it wrong, it sets the wrong tone.
3. This is your first impression, almost like a date, you want to be pleasant but not over the top and say what you are supposed to, not too much, and not too little.
4. If you are using a chair or table (if allowed), pre set it before your slate, do not allow your transition be muddled with moving furniture.
5. Be aware of what you do before you talk, you are being evaluated from when you start your slate.
6. Be clear on your final moment. Don't start leaving before you are done.

Characterization

Characterization on the rubric asks for emotional and physical believability and commitment to character; choices or tactics towards an objective that create a relationship with real or implied partner(s).

 

What is characterization? Characterization is the creation of character through voice, movement, personal research and textual analysis.  

Different Tips and methods to creating character.

BASIC CHARACTER ANALYSIS

MORE CHARACTER ANALYSIS OPTIONS

TEXTUAL ANALYSIS

Character DOs and DONTs

DO:

  1. Read the script!

  2. Research.

  3. Take time to do more than memorize! Look for different objectives

  4. Take risks! 

  5. Listen! 

DON'T:

  1. Don't just read lines with feeling. 

  2. Don't just go up and "wing it."

  3. Don't "play emotions."

  4. Don't employ stereotypes.

  5. Don't just take. Give.

Acting Techniques: There are several different methods to creating character developed by a range of teachers. It is up to the actor to decide which method is write for them.

For a general overview of the major methods and the actors who use it. CLICK HERE.

They include

      Constantin Stanislavski: Known as the method, Stanislavski is considered the father of modern acting. His approach incorporates spiritual realism, emotional memory, dramatic and self-analysis, and disciplined practice.

      Lee Strasberg: Strasberg took Stanislavski's method and adapted it,  it encourages actors magnify and intensify their connection to the material by creating their characters’ emotional experiences in their own lives.

     Stella Adler: Adler studied under Strasberg but modified the system to emphasize imagination in addition to emotional recall.

     Sanford Meisner: Meisner worked with Adler and Strasberg. Meisner taught his students to “live truthfully under given imaginary circumstances.” His approach is an imminently practical one; his famous repetition exercise, in which two actors sit opposite each other and respond in the moment with a repeated phrase, breaks down overly structured technique and builds openness, flexibility, and listening skills.

     Michael Chekhov: Chekhov pioneered a psycho-physical approach to acting, focusing on mind, body, and a conscious awareness of the senses.

     Practical Aesthetics: This method was developed by William H Macey and David Mamet. It involves a four-step scene analysis that simply focuses on pursuit of an action; actors are taught to focus on what is literally happening in the scene and what is desired of the other characters.

    Uta Hagan: Her popular technique emphasizes realism and truth above all else; “substitution” (or “transference”) encourages actors to substitute their own experiences and emotional recollections for the given circumstances of a scene.

    Viola Spolin:  Used theatre games to live in the moment and respond quickly and truthfully to their present circumstances.

Voice

Voice on the acting rubric asks for Projection, articulation, intonation, and other chosen vocal techniques that reflect the character's emotions and subtext.

Voice is often evaluated on the performer's ability to project, articulate, intonate as well as other tools used to reflect the character's emotions and the subtext of what is being said.

Projection is the ability for the actor to speak loudly (and clearly) enough to be heard. On stage a whisper is much louder than a traditional whisper.

Projection tips and exercises.

Articulation is the ability of the actor to speak clearly and be understood. This includes a general understanding of how words should sound through the International Phonetic Alphabet and taking the time to speak in a way that emphasis the proper sounds in a word.

International Phonetic Alphabet

https://www.engvid.com/english-resource/50-tongue-twisters-improve-pronunciation/

Intonation generally deals with the pitch of the voice, which looks at the more than pitch when singing. This sometimes comes into play to imply emotions or questions. How lines are said can change the meaning, like raising the pitch at the end makes a statement a question.

Other aspects of voice that emphasize the character and their emotions and subtext

Accents/Dialects:  Dialects deal with word choice and are more specific, Accents are more of the general sounds.

Common accents to learn, British, Southern, New York (Brooklyn), and American Standard. Many resources can be found online for how to speak certain accents.

Accent Map of North American Accents

https://aschmann.net/AmEng/

Rhythm/Tempo: If you speak too fast you cannot be understood. If you speak to slow it can get tough to stay with what you're saying. You rhythm and tempo are often closely related to your emotions.

Tone: It is not just what you say but how you say it, be mindful of how things can be perceived.

Inflection: Which word is the most important of the line, make sure the focus is put in the right spots.

The DOs and DONTs for your voice according to vocal coach Kristin Linklater.

Movement

Movement on the acting rubric looks at Gesture, facial expressions, movements, and actions that communicate the character's emotions and subtext.

Theatre movement is not just moving around the stage, although your location on the stage and how you move around is a vital part.

Movement is also your relationship to other characters on stage.

Movement is also how you create posture on stage.

Movement is also where you are putting your focus while you are on the stage.

There are seven major methods for movement acting.

    The Alexander Technique: 

   Jacques Lecoq:

   Corporeal Mime:

   Viewpoints:

   The Suzuki Method of Acting:

   The Williamson Technique:

   Laban Movement Analysis:

Facial Expressions

Execution

Concentration and commitment to moment-to-moment choice; integration of voice, body, and emotions create a believable character/relationship that tells a story.

  • YouTube Social  Icon
  • Instagram Social Icon
  • Twitter Social Icon
  • Facebook Social Icon
  • Snapchat Social Icon

CONTACT US

4966 Calvary Ct Las Vegas, NV 89141

Tel: 702-296-0109

nvthespians@gmail.com

© 2018 by Nevada Thespians. Proudly powered by Wix.com