The Promise: Lesson from the Covenant Players
April 26th, 2008 by physichroniclesI should admit that musical play is not really my cup of tea. Yet, I was somehow moved by the pamphlet I received early this year about the Synod of Presbyterian Church in Singapore’s grand plan of coming up with musical play for this year’s Christmas.
I decided to go for audition primarily for 2 reasons: (1) I always want to try out acting. or any performance art in general. In fact, I feel that teaching, my current job, itself is some sort of performance-art (see "The Art of Teaching" posted about a year ago). Thus, it’s good if I can pick up some skills and experience along the way. And, (2) it’s for the first time that the Presbyterian churches in Singapore "combine power" to run this plan. Although, after all they’re still under one denomination, but it’s a good sign that God’s people, despite their church background, are working together. I personally think that in the future we, Christians, need to do this sort of combined effort more often… one that involves, if possible not only just the Presbyterians, but also God’s people from other denominations. After all, don’t we worship the same God, believe in the same Jesus, and guided by the same Holy Spirit?
Well, putting that aside, I was very fortunate to have a chance to learn basic drama skills from the Covenant Players last Saturday. In this 6-hour workshop, I learnt 7 basic skills in play:
Line ownership. Line ownership is more than merely memorizing the line. A good actor is not acting of the character, but he is being the character. As an illustration, think of something you are familiar with, say, your name. You can answer almost immediately if someone asks your name, or your date of birth. How about your phone number? Well, if it’s an old number, you also can answer it immediately. However, if you just got the number few hours back, it needs sometime for you to recall. This is a matter of "second nature", i.e. your name is second nature to you. You do not need to spend hours a day intentionally try to memorize your name… but you hear it often when someone’s calling you (for sure, it had to be started by your parents), you mention it often, you write it down often (Gosh!!! Guess, how many forms I have to fill up here in Singapore every month? =P)…. and yeah, it is now part of you. You can’t forget your name for sure… well, unless you get a brain-damage ^_^
Same thing as in play. Of course it’s going to be kind of difficult initially… but with consistent practice and hardwork, it should come second nature to you eventually. Once it is so, you can converse during the play as if it were a real day-to-day conversation… even if the stage collapses suddenly during the play, you can still go on. I think that’s the reason, why those actors/actresses can sometime recall their lines even years after their actual play.
Eye communication. Your eyes can defy what your mouth says, as you can see someone’s lying by looking at his eyes. What happens in the real-life is also happens on the stage. The audience should be able to see your face, they should be able to see your eyes as well. One one side, it means that you should be careful; you can’t act "angry" while your eyes stares blankly if you were trying to recall your lines (which brings us back to the importance of line ownership as discussed above).
However, avoid personal eye-contact with the audience for doing so means inviting the audience into the play, that is, to make them as part of the play. Thus, the trick is to focus your gaze to points at the audience’s neck-level or fore-head level. You can’t completely gaze too way up to the ceiling or too way down to the floor, because the audience should have to be able to see your eyes despite yours can’t see theirs.
Diction. 3 most important things to have a good pronounciation: the lips, the teeth, and the tip of your tounge (well, repeat that for 10 times, and feel the movement of every single muscle in your mouth). Very often that you have to say your lines really fast (for example, when you’re acting "angry" or "panicking"). Yet, the audience should still be able to distinguish your articulation. The key is in warming-up. Very much like you’re doing sport which requires you to warm-up beforehand, you also have to warm-up all your lips, jaw and tounge muscle.
One trick which was taught to improve your diction is to practice saying your lines while biting chopsticks, and yet people still have to be able to understand what you are saying. When you have chopsticks stuck there, you are forced to say thing slower and pay attention to every single vowels and consonants, curling and squeezing up your tounge here and there to produce a well-articulated words.
Projection. Projection is not the same as shouting/yelling. Yelling makes use your throat muscle, and hence, you can sustain the loudness for too long (how long can yell before you get sore-throat?). Furthermore, by yelling your voice will naturally goes toward higher pitch, which make difficult audience difficult to distinguish your articulation (can you understand what soprano sings in opera?). Projection uses of diaphragm muscle, pushing the air out while making use the upper body as air-column as resonance-box (very much like a pipe organ). Thus your voice is going to be loud and clear at the same time.
Body control. The way you walk… they way you speak… the way you make your gesture… those should reflect the character you are playing as. A servant should not speak like a master, neither a soldier behaves like a general. While you are on stage, you have to maintain the habits of your character consistently… if he is limping, foe example, then make sure that he always limps with the same leg, in the same style.
Body movement. The stage is divided into 9 sections, very much like tic-tac-toe board. The 1st-line sections (nearest to the audience) is called down-stage, the 2nd-line sections is called center-stage, while the last-line sections (nearest to backstage) is called up-stage. If you were the actor standing exactly at the center of the stage on the stage facing the audience, the column sections on you right is called right-stage, while the column sections on your left is called left-stage (i.e. the left and right direction on the stage is defined according to the actors position when facing the audience). Thus, if you were the direction facing the stage, the bottom-left corner is called down-right stage, while the top-right corner is called up-left stage.
When you are moving around the stage during the play, you have to make sure that the audience can see you, especially your expressions. That means, you can’t show your back to the audience… avoid looking at each other face to face unless the storyline demands such intense conversation (it is called confrontation position in play), because that will imply that audience can at most see your side-view only. Thus, in most cases, your position should remain neutral, i.e. if you are standing on the left stage, you should face somewhere at right far-end corner of the hall, and vice versa, if you are standing on the right stage, then you should face left far-end corner of the audience, as such that most of the audience can see your and your partner’s faces.
Extra attention should also be given when walking around on the stage, especially when turning around, as to ensure that you do not turn around with your up-stage leg (i.e. leg which is nearer to the up-stage) as a pivot. Doing so will guarantee some moment when you show your back to the audience. Instead, always use your down-stage leg as a pivot and shift your up-stage leg around in such a way that audience can always see your face even when you are turning around.
Characterization. When you are on-stage, you are no longer you. You are one of the characters. There is no role too small. No matter how trivial someone’s role on the stage, even if she just need to come, collapse and lying on the stage throughout the whole scene, it’s still significance… even if you just "one of the crowds" doing the shouting or menial labor, you are part of the play. Hence, it’s very important that you have to be in your characters consistently on-stage, right from the moment you step to the stage till you disappear into the backstage.