LB Acting Studio Acting exercises

This exercise is designed to help actors overcome their dependence on memorizing lines and instead focus on connecting with the material and the story.

Step by Step instructions:

1. Ask one participant to come to the front of the group, without their script.
2. Assign another participant to hold their script and assist in the exercise.
3. The aim is to create an associative memory of your lines rather than relying on traditional memorization methods.
4. Line Repetition: Instruct the actor holding the script to follow a specific pattern while reading the lines to the actor without the script:

• • a. First, read their own lines twice.
  • b. Then, read the actor’s lines (the lines the actor needs to memorize) three times.
  • c. Next, read the actor’s lines twice again. d. Finally, read the actor’s lines once more.

First Read: After completing these repetitions the actor will be asked to start the scene without looking at their script. Initially, this will be done for a page or two of the script at most.

1. Remind participants that if heart monitors were in the room, some might show signs of withdrawal, which is a normal response to breaking line addiction. Like all addictions it helps to breathe and take it one moment at a time and not panic.
2. Emphasize the importance of staying calm and not stressing about remembering every word verbatim. Its story and personal associations you are attending too:
3. Encourage participants to let the story naturally sink in rather than forcing themselves to memorize lines. The goal is to connect with the material the story and let your brain’s ability to free associate take over.

Benefits: Explain that this exercise is not just about memorizing lines; it’s about connecting with the material on a deeper level. It’s about getting the story into long term memory rather that trying to stuff it into short term memory.

1. Emphasize that the ultimate goal is to get the words out of their heads and into their bodies so that they become second nature.
2. Remind them that this exercise takes practice and patience but can become a powerful tool for memorizing lines quickly and efficiently.
3. Invite questions and further discussion about acting or memorization techniques.

Understand that for the first half of the evening, you will be assigned a scene to work on for the following week.

1. You will not initially open/hold your script; instead, someone else will be assigned to open it and read their lines twice.
2. Pay attention as they read their lines. This exercise involves learning your lines through repetition and association.
3. After they’ve read their lines twice they will do your lines 3 times, for approximately one page of the script.
4. You will then start performing the scene without looking at your script.
5. The aim is to create an associative memory of your lines rather than relying on traditional memorization methods.

The Scene Memorization Exercise

1. Begin with simple scenes that have minimal stage directions and involve two characters. Over time, you can add more characters to make it more complex.
2. For this exercise, you don’t need to worry about eye lines (where you look during the scene).
3. If there are multiple characters in the scene, the reader should read one character’s line, then another character’s line, and so on indicating with hand gestures (i.e. If there were 3 other characters in the scene the reader would pointing left, right and centre. This helps with coordination and understanding the flow of the dialogue.
4. Start with roughly a page of the script and practice that section until you’re comfortable.
5. Move on to the next page and repeat the process, gradually adding more pages.
6. If you’re the reader, announce which character has the first line and help others with clues if needed.
7. Allow the participants to rehearse and practice the dialogue in this manner, focusing on creating associations rather than memorizing word-for-word.
8. Understand that the goal is not just to recall lines but to understand the relationships, thoughts and emotions within the scene.

Additional Tips:

1. Don’t worry if you don’t remember every word in order; focus on understanding the story and character relationships.
2. This exercise bypasses the intellect and taps into the associative part of the brain, making it easier to remember lines.
3. Remember that our brains are wired to remember stories, so this approach leverages that natural ability.

Questions and Technology:

1. If you have questions about the exercise or need further clarification, feel free to ask.
2. If you’re concerned about not having a scene partner, try to find someone to practice with, as it’s crucial for the exercise’s effectiveness.
3. You can also utilize technology, such as text-to-speech programs or voice assistants, to read lines to you if a scene partner is unavailable. While not ideal, it can still help you practice.

Remember that this exercise may feel challenging at first, but with practice, it can signifcantly improve your ability to memorize lines and connect with your character in a scene.

Here’s the exercise to help actors get past line addiction:

1. You come up to the front without your script.
2. Someone else will have your script and will read your lines to you in a specific pattern:
   • First, they read their lines twice.
   • Then, they read your lines to you three times
   • Next, they read your lines to you again twice:
   • They read your lines to you once
3. After going through this pattern, you’ll start the scene without looking at your script. We’ll do this for a page or two of your script.
4. If we had heart monitors in this room we might see some of you showing signs of withdrawal.
5. Stay Calm: The goal is to get you past this line addiction. Don’t stress about remembering every word.
6. Let the story naturally sink in. Don’t force yourself to memorize.
7. This way, you’re not just memorizing lines; you’re connecting to the material and the story.

The key is to be resourceful and creative when it comes to finding ways to work on your lines. Remember, the goal is to get the words out of your head and into your body so that they become second nature, and you can focus on the deeper layers of your character and the scene.

As you continue with this approach, you may find that it becomes easier and more effective over time. Like any skill, it takes practice and patience. But once you’ve mastered it, you’ll have a powerful tool in your actor’s toolkit for memorizing lines quickly and efficiently.

1. Exploring with Joy and Openness:
   Meditate and free your head of negaF=tive thoughts or preconceptions of the tone, genre, style, or judgement of these particular characters. We see and hear through the filter of perception. Things are what we think they are. Make sure you are open to the creative and curious artist in you: Free of judgement.
   Lie down on a couch, bed, or easy chair etc. and read the scene out loud or better yet have someone read it to you. Hear the story like a bedtime story. Approach the script with a sense of discovery and joy looking for the “Easter eggs” or unique clues that make the character and story come alive within you. Free associate and let yourself empathize with what you are hearing.
2. Telling the Story through Instinct and curiosity:
   Consider your first reactions and thoughts towards the script. Question whether simply ask if an action or line is necessary for conveying the character’s intention or if it’s already accomplished through the dialogue. If yes, then there is one less set of variables for you to consider. Congrats, one less set of choices to make. Now commit body and soul to what you are saying. If not, identify those key moments in the script that require your attention. Whatever additional choices you make you must put them to the test. Ask yourself on what line or reaction is this present. If it is, you are on the right track and your work will be detailed and specific. if not abandon it. You are on the wrong track. With very little time to turn around an audition efficiencies are not only important they are essential.
3. Identify and connect with Core thoughts:
   Highlight non contextual phrases or lines (that, even when removed from their context), capture the underlying dynamic of the scene. This will provide you with the fundamental thoughts, and or emo*ons of your character. This will also enable you to empathize with your character plight, struggle, condi*ons etc. It allows you to think what they think and feel what they feel. Characters don’t have memories because they don’t actually exist. They need your memories and body to come into existence/alive.
   • • Triggering chemical Conflict: Look for conflicting thought patterns in the character that might chemically trigger or create conflict within you. You won’t have *me to create imaginary circumstances.
4.  The First Moment: Mind Mapping the Character:
   Scan your sides for thoughts that might serve your character’s conscious state before a scene starts. These thoughts can serve as a “moment current” rather than a “moment before.” This pre-scene state provides you with an internal chemical reaction and therefore a body committed entrance. In many ways it will guide the scene without your actor’s ego gettng in the way. This thought is often your North star guides you in a way that you won’t get lost in the ego’s attempt to make “strong and interesting choices” By mapping out thoughts and reactions within all the scenes, you gain a more comprehensive understanding of your character’s thought process and therefor be more open to reactions in the moment.
5. The Relevance of Stage Directions:
   As you read the stage directions, question their necessity: consider do they reveal
   1. more about your character,
   2. advance the plot, or
   3. bring clarity to your characters relationships.
      If they do, then they are worth the investment of *me to integrate them into your work.
6. Non-contextual Responses: Reflection on Personal Experience:
   Pay attention to lines that affect your character on a non-contextual level, allowing for personal associations to flood your consciousness and thereby affect you. It will also give you insight into deeper emotional or psychological states. Reflect on your own experiences or those witnessed in others or film and television that resonate with the script’s situations. You will have a greater range of options available to you.
7. Line and Reaction Identification:
   Locate specific lines or reactions that can trigger you to be able to live authentically in your character’s thoughts, intentions, or emotional state. Through experiencing different thoughts and lines, you will build confidence that you are making the characters choices not your attempt to be interesting. Understand that not everything needs to be explicitly stated or acted upon.

This method emphasizes an organic, introspective approach to character development, focusing on the internal dynamics of the character and how they navigate through the arc of the story. By activating core thoughts and thought replacements, actors can create a more authentic and compelling performances that resonate with audiences on a deeper level.