DRAMA- 12 Tips for Learning Lines Match the two halves. 1. Read the lines aloud. a.

Friends can correct you on any mistakes you make, give you the cue lines and go back over any weak areas. b. With Line Learner you record all the lines including those of other characters and then listen to them leaving silent pauses to speak your own lines. With Rehearsal you can upload a script and watch it scrolling by as you record your lines to listen to. c. By speaking the lines you will hear them and they are more likely to stick. d. Listen to it while you are shaving"washing up#t$s a good idea to leave gaps in the recording to speak your own lines. Little and often. e. &his has been scientifically proven to aid memory. &he best thing to do is to act and feel the emotions of the character so that you are learning the meaning of the speech as much as the words. 'r (ust for a change you can even do something entirely unrelated like (uggling or sweeping the floor. f. ,eing prompt with your lines will give you and your fellow actors more confidence.

2. . !. %. ).

Ask a friend to help you

Practise, practise, practise.

There are several apps

hich can help ith learning lines.

*ven if you don$t use an app

you can !ake a recording of the scene with a tape+recorder or mp player.

-. /. 1. 34.
still a alk

g. &his is the only way to make the lines stick. &here is no such thing as a .photographic. memory. *verybody has to do this.

Move around hile you h. 0on$t (ust concentrate on what you$ve got to say.

are saying your lines.

"o for a drive or #etter i. 2o over them first thing in the morning, a few times during the day and last thing at night.

Learn the cue lines that (. Walking and saying your lines can be 6uite rela7ing 8though beware of strange looks from passers+by9. 5s you say or read the

lead in to each of your lines.

lines, follo the thought pattern of

each speech and the overall progression of the scene.

33. 32.

k. and use this to practise with so that you get used to hearing the other characters$ voices. #n rehearsals, listen to

and think a#out hat the other actors are saying l. :our lines are a part of the play. &hey don$t e7ist on their own. Make a recording of + 1+ !+ 34+ %+ 33+ )+ 32+

the cast reading the script 1- c 2+ -+ /+

DRAMA "AM$% 1. "rand!a&s Footsteps 'ne person is 2randma + he"she faces a wall. &he others in the group start at the other end of the room, then try to creep up to 2randma and tap her on the shoulder. ;owever, at any moment, 2randma can turn around suddenly. #f she sees anyone moving, she points at them and that person must return to the start. <o+one is allowed to move while she is watching them. Whoever manages to tap her on the shoulder becomes 2randma 8male or female9 and the game starts again. #t$s a good activity for cultivating concentration and patience + not to mention lots of cheating= &o make it more challenging, put some hats, wigs, scarves, shoes, handbags or other items of 2randma costume on the floor. Make it a rule that you have to put on a hat or an item of clothing before you tap 2randma on the shoulder. 2. Ten Second Objects 0ivide everyone into small groups 8!+)9. >all out the name of an ob(ect and all the groups have to make the shape of that ob(ect out of their own bodies, (oining together in different ways while you count down slowly from ten to ?ero. @sually every group will find a different way of forming the ob(ect. *7amples could beA a car, a fried breakfast, a clock, a washing machine, a fire. 3. Alpha#et Conversation ;ave a conversation where each sentence begins with the ne7t letter of the alphabet. &his may seem difficult at first, but improves with practice. #f you get stuck, you can also use sounds to start a sentence, for e7ample $Mmmm$ or $tut+tut$. ;ere is an e7ampleA 5A 5nyone seen my catB ,A ,lack one, with funny eyesB

5A >an$t say # remember. ,A 0on$t tell me you$ve forgotten what it looks likeB 5A *very cat looks the same to me. ,A Fortunately, # found one yesterday

Try setting the scene or location before you start

4. 'ne Word At A i!e #n a circle, the story is started, with each person in turn adding one word. #t usually starts with $'nce + upon + a + time$. &he idea is to keep your thoughts free flowing, so that you don$t try to guess what is coming or force the story in a particular direction. Thro or roll a #all around the circle in any order( 5dd your word as you pass the ball to the ne7t

person.
'r, try playing the game in pairs, where both participants act the story out as it is told. #n this case, tell the story in the present tense and as $we$. For e7ample, $We + are + climbing + a + mountain. + Look + a + giant +spider + coming + towards + us. Cuick + run=$ :ou can soon create an adventure story in this way. :ou can also use the one word at a time techni6ue to create characters made up of two or more people + great fun for interview scenes= 5. "irrors. 0ivide the children into pairs and ask them to label themselves A and ). &hey should stand facing each other a few feet apart with an imaginary mirror in between them. A is a skeleton and ) is the reflection. A starts moving slowly and smoothly while ) tries to reflect A$s movements as accurately as possible. 'n a given signal, the leading swaps over so that ) is now looking in the mirror. &ry playing some spooky music while they do this. 5fter they have had a bit of practice, they could devise a ghostly movement se6uence to show to the others. 6. Alien Culture #!provisations >R*5&* 5 >@L&@R*A 2ive the students guidelines to follow, for e7ampleA they must include a tradition, dance, way of eating, language, dress and so on. *ncourage the students to be as creative and as .out of the bo7. as possible. &hen have the groups share and introduce their culture to the class. Prep Ter!s *or Acting + Rela7 D 8Ehysically and Mentally9 ;ave the students do some physical warm+up stretching like that of a physical education class. &hen, have them lie on the floor or keep them standing and have them close their eyes. Mentally, have them answer these 6uestionsA WhoFs beside youB WhoFs in frontB WhoFs in backB What process did you go through this morning before you came to schoolB 0id you take a showerB 0id you eat breakfastB 2o through each step before you came to school. <ow think of a sad moment. What did the surroundings look like during that momentB <ow think of a happy moment. What was going on during that timeB 'n the count of three, shout out one word to describe that happy moment. + &rust + #n order to act to the best of your ability, you must learn to trust other actors. #n pairs, have one student close their eyes while the other leads them around the theater"room. ;ave them lead the other around for three minutes, and then change positions. 8&hey will do this for another three minutes.9 2ather up the class and have them pair up according to si?e and weight. 5fter the paring have the students catch one another. &he person falling into the otherFs arms needs to make their body stiff, like that of a 27!. 5fter this is done for about one minute, have the students change positions. +>riticism + 2ood and bad. &he instructor needs to give some e7amples of good and bad criticism. ;ave students go up on stage and do the followingA sing off key or deliver a dramatic line in a horrible way. 2ive good and bad criticism e7amples. <oteA 0onFt take criticism personally. >riticism is responding to the acting, not the student as a person. 5lso, students need to accept the criticism and learn from it in order to enhance their performance. +Freedom + 5ctors must be able to be anything on stage. ;ave students go up on stage and act like animals, old people, men women, etc. for one minute.

'#stacle+Pro,ection Write down a piece of paper the following and do them. 5fterward, define the 'bstacle and place an ;, M or L to demonstrate the degree of energy in which you had to GEro(ect yourself.H ; I ;igh D #t took a lot of energy. M I Medium D #t took some energy. L I Low D #t took little energy to complete the task. 3. *7change an e7terior article of clothing or ob(ect with a partner and wear it until the end of the e7ercise. 2. @ntie partnerFs shoes. . Find - different colors in the room. 8Write them down.9 !. ,alance a book or folder on partnerFs head. %. Find something that best resonates your voice. 8Write it down.9 ). Roll three perfect rolls on the ground. -. Without talking, try to make your partner laugh within 4 seconds. /. Find an ob(ect and shape your body to become that ob(ect. 1. Walk up to someone you donFt know and tell them how much you love them. 34. Write down the name of an animal, become the animal, and greet four people as that animal.

STRIPS SKETCH-PUT BACK TOGETHER CHARACTER BUILDING QUESTIONS-PDF,1 PAG HOT SEAT QUESTIONS -ot %eating A character is .uestioned #y the group a#out his or her #ackground, #ehaviour and !otivation( STORYBOARDS-EXEMPLU SI BLANK-2 PAG STORYTELLING, NEIGHBORHOOD, 1 PAG #. 3Read the lines aloud. ,y speaking the lines you will hear them and they are more likely to stick. 2Ask a friend to help you. Friends can correct you on any mistakes you make, give you the cue lines and go back over any weak areas. Practise, practise, practise. &his is the only way to make the lines stick. &here is no such thing as a .photographic. memory. *verybody has to do this.

!Little and often. 2o over them first thing in the morning, a few times during the day and last thing at night. %There are several apps hich can help ith learning lines. With Line Learner you record all the lines including those of other characters and then listen to them leaving silent pauses to speak your own lines. With Rehearsal you can upload a script and watch it scrolling by as you record your lines to listen to. )*ven if you don$t use an app you can !ake a recording of the scene with a tape+recorder or mp player. Listen to it while you are shaving"washing up#t$s a good idea to leave gaps in the recording to speak your own lines. -Move around hile you are saying your lines. &his has been scientifically proven to aid memory. &he best thing to do is to act and feel the emotions of the character so that you are learning the meaning of the speech as much as the words. 'r (ust for a change you can even do something entirely unrelated like (uggling or sweeping the floor. /"o for a drive or #etter still a alk. Walking and saying your lines can be 6uite rela7ing 8though beware of strange looks from passers+by9. 1Learn the cue lines that lead in to each of your lines. ,eing prompt with your lines will give you and your fellow actors more confidence. 345s you say or read the lines, follo the thought pattern of each speech and the overall progression of the scene . :our lines are a part of the play. &hey don$t e7ist on their own. 33#n rehearsals, listen to and think a#out hat the other actors are saying . 0on$t (ust concentrate on what you$ve got to say. 32Make a recording of the cast reading the script and use this to practise with so that you get used to hearing the other characters$ voices.