Think in terms of the strengths and talents of your actors – what do they do best?
INCORPORATE THEIR STRENGTHS AND INTERESTS INTO THE SCRIPT.
Think of ways to SIDE-STEP the WEAKNESSES of your actors.
- You can do this by not giving actors action or lines that you know would be difficult for them.
- Incorporate other actors into the scene who can help them (see ideas below).
CAST the play before you begin to write so you can pair up people who can help each other in different ways during the course of the play.
INCORPORATE SPECIAL TALENTS: - Playing an instrument,
- Dancing,
- Singing,
- Pantomime,
- Juggling,
- Magic Tricks,
- Telling jokes,
- Howling like a werewolf,
- Puppetry,
- Pratfalls, etc.
INCORPORATE wheelchairs and other devices into the play so there is a reason for the devices to be onstage: - Thrones,
- Carriages,
- Royal litters,
- Haywagons,
- Ambulances,
- Trucks,
- Cabs, etc.
• On the other hand, you don’t HAVE to have a rationale or excuse for a character to be in a wheelchair or to have another obvious disability – you can have that just be part of that character that is not even remarked upon in the play.
• Don’t let a device or a disability stop a character from doing what he or she needs to do in the play. Where there’s a will, there’s a way.
IF A LINE IS DIFFICULT TO SAY, rewrite it:
- Use different words
- Change the order of the phrases
- Shorten the line
USING MEMORIZATION STRENGTHS:
• Use the natural speaking rhythms, phrasing, and vocabulary of your actors, especially if the script is based on their improvisations. If the lines are already in their words, speech, and thought patterns, they will be easier for actors to speak and remember.
• If you have an actor who is a good memorizer, have him or her ask questions in a scene to an actor who is not as good at memorization. It is easier to remember the answer to a question (especially since you know the answer from the script) than it is to remember a question.
• However, don’t have characters answer just “yes” or “no,” as they may become confused about which answer to say. Have answers be with specific Who, What, Where, and When information that relates clearly to the story and which can be more easily remembered.
• An actor who is a good memorizer can also handle the part of someone in authority, who gives orders.
• If an actor has a joke – make sure he/she understands the humor/meaning behind it, or he won’t be able to remember it.
• Incorporate reminders for actions and lines into the dialogue of actors who can memorize – make sure those reminders are phrased in positive terms. An actor with a cognitive disability will do what he or she is told to do, but can become confused if the hint is phrased in a negative way (For example, if you want an actor to go into a cave, a hint from another actor like, “Don’t go in there!” probably will be taken as a direction to not go in!).
If a line is phrased indirectly (“I wonder where we should go next?”) the actor being cued won’t be helped…because there is no hint in the line.
• Use a live or recorded narrator to structure the scene.
• Use music and/or sound effects to remind characters about entrances or exits or cue changes in the action within a scene.
• Incorporate video or film into your play. These scenes won’t have to be memorized. And they can be filmed as many times as you need in rehearsal until they are just right.
SIDESTEPPING problems with MEMORIZATION:
• A character like a TV interviewer, talk show host, doctor, or detective can have a clipboard of notes that can be referred to for the questions they might have to ask other characters. It looks realistic to incorporate the lines written on those props.
• Create groups of characters who work together onstage with at least one actor involved who has a good sense of direction and memorization. Everyone else can follow along and do their appropriate lines and actions if they have someone reliable to follow.
• In rehearsals encourage actors to improvise if they forget a line and to help fellow actors remember lines through asking them appropriate questions in character. Let them practice so they will be ready if it happens in performance.
SIDESTEPPING problems with actors who are NOT CLEAR SPEAKERS:
• Have another character repeat the line incredulously, pretending they understood what was said.
“I didn’t do it!”
“You didn’t do it? How do you expect me to believe that?”
or…more subtly…
“You expect me to believe that you didn’t do it?”
“I went to the store”
“Yes, I know you went to the store, but what did you buy there?”
• Have the actor who does not speak clearly play a foreign character who nobody in the play understands or play someone who always mutters under their breath. (Example: Swen Swenson, the Swedish cinematographer, has been hired because of his movie making talents, but he speaks no English. That’s ok because all he needs to understand to do his job is “Action” and “Cut.”)
There could be a legitimate reason why a character can’t speak. For instance:
- She is a professional mime,
- He has laryngitis because he yelled too loudly at the football game,
- She’s taken a vow of silence for religious reasons,
- He is refusing to speak because he is angry,
- Her voice was stolen by an evil wizard.
SIDESTEPPING problems with actors who CAN’T REMEMBER BLOCKING:
• Have the character teamed with a duo or trio of others who can remember blocking.
• Cast the actor a character who is a ruler or rich person who needs a personal assistant to be at his beck and call. (The personal assistant can be an actor who knows what to do and where to go and will be the one who is really in control, but will not look like it).