# data[].attributes.body
In this show written by Jim Cartwright and produced by Berzerk, who are a Reading based youth drama company, a group of young people tell us about their relationships with their mobile phones. The stories range from a boy rapping how "mother wouldn't let me have a phone", to a young man's relationship with his mobile, how it makes him look popular and gives him something to do but actually he is lonely and the only texts he gets are from his network provider. In the next story we meet a manic hybrid of Jeremy Kyle and Graham Norton - a game show host who manipulates the audience and has a 'text off' with a scientist.

This moves to an interesting story about two sisters and a brother who are in contact with their dead mother through text messages. And the audience are invited to phone an actor on stage who has a story to tell us directly. the national theater is when young people put on their own show, play that has never been seen before, this play was for the national theater program.

# data[].attributes.body
Stanislavski, one of the greatest and most influential of modern theatre practitioners. The main thing to remember is that he takes the approach that the actors should really inhabit the role that they are playing. So the actor shouldn’t only know what lines he needs to say and the motivation for those lines, but also every detail of that character’s life offstage as well as onstage. In this way we can establish Stanislavski as a director and practitioner whose productions are naturalistic.

# data[].attributes.attachment_link.readable_text
1. 1

2. 2

3. 3

4. 4

5. 5

6. 6

7. 7

8. 8

9. 9

10. Page 1of 9

Remember: there are no small parts, only small actors. Konstantin Stanislavski

It's very easy to over-simplify the method of Konstantin Stanislavski, one of the greatest and most influential of modern theatre practitioners . The main thing to remember is that he takes the approach that the actors should really inhabit the role that they are playing. So the actor shouldn't only know what lines he needs to say and the motivation for those lines, but also every detail of that character's life offstage as well as onstage. In this way we can establish Stanislavski as a director and practitioner whose productions are naturalistic .

Stanislavski's background

Stanislavski's real name was Konstantin Sergeyevich Alexeyev but he adopted the stage name of Stanislavski in 1884. Born in 1863 to a life of considerable comfort as a member of one of the most affluent families in Russia, he died in 1938 at the age of 75. His family loved the theatre and he was able to indulge in amateur theatricals as a boy. But when he took a stage name it was to conceal his theatrical work from his family. However, in 1887 he had his father's approval and eventually became an established figure.

As a serious theatrical practitioner, he made careful notes and evaluated his work, a habit he followed from the first steps in his career. Later he was to write major texts on the art of performance:

My Life in Art

An Actor Prepares

Building a Character

Creating a Role

1. 1

2. 2

3. 3

4. 4

5. 5

6. 6

7. 7

8. 8

9. 9

10. Page 1of 9

# data[].attributes.attachment_link.title
Konstantin Stanislavski - Naturalism and Stanislavski - GCSE Drama Revision - BBC Bitesize

# data[].attributes.attachment_link.description
1 2 3 4 5 6 7 8 9 Page 1of 9 Remember: there are no small parts, only small actors. Konstantin Stanislavski It's very easy to over-simplify the method of Konstantin Stanislavski, one of the greatest and most influential of modern theatre practitioners .

# data[].attributes.body
The play tells of an unnamed young woman who flees from a country where she has been abused and seen her child, parents, husband and sister murdered. She arrives in Britain to seek asylum and a new life, but is detained then interrogated, humiliated and racially abused. Her dreams of safety are finally shattered on the cruel streets of London.

# data[].attributes.body
A monologue helps you to get the part of the play but it not about that, it’s about how you perform it. First understand what is going on in the monologue and write some facts about it and the character. Guess how they feel in that moment.

# data[].attributes.attachment_link.description
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.

# data[].attributes.headline
Exercises to help perform your Duologue 

# data[].attributes.subject
Exercises to help perform your Duologue 

# data[].attributes.body
This website helps you to do some activities to help you with the character you are play. For example you can do ‘towards, away or stay’ ‘take it to 11’ ‘animals’ and ‘ counter objectives’

# data[].attributes.attachment_link.readable_text
Exercises are a great way to kick-start creativity and open up actors to play, whilst also exploring the text. It removes the actors from the confines of blocking and props and allows open ended experimentation with lines and character, without the pressure of 'performing'. If you ever need to break up rehearsals, or want to shake-up an actor's performance, here are some exercises worth trying which keep things focused and free at the same time.
These exercises should help both actor and director:
Directing Exercises for Actors

T.A.S.

Towards, Away or Stay. This is a great exercise to use when first looking at a scene and gives initial insights into which character holds the power at different points. This exercise is not to be directed, just to be observed.

1) Start with the actors standing a short distance apart.
2) They can only move along a straight line, and must always be facing their scene partner. They can only move on their line.
3) With each line, they can make a choice: move towards the other actor, away from the other actor, or stay where they are.

The limited movement causes the actors to make clear choices with each line, and discover when they are on the attack, and when they are on the retreat. Which end of the room the actors end up on is a clear indication of which character has the most power in the scene.

You can also add SIT to this exercise, where an actor can tell the other actor to sit before one of their lines. This naturally happens when a character is trying to gain power or has important information to say. Again this exercise is to be observed not directed, and note any interesting interactions.

TAKE IT TO 11

Similar to Michael Chekov's VEIL exercise, what this exercise encourages is taking an emotion to an extreme to feel it in its full force. This exercise is great when an actor is stuck in a rhythm or isn't connecting with the given circumstances. Best used for short scenes or beats.

1) Give the actor a strong emotion, such as LUST, HATE, ANGER which works within the context of the scene.
2) Tell them to take that emotion to an extreme and disregard any blocking.
3) If it's not extreme enough tell them to take it further.
4) Discuss when that emotion in extreme worked and when it didn't with all actors.
5) Do the scene as normal without the blanket extremity, but incorporating any elements of it that worked.

This exercise can seem ridiculous and can often produce funny results, as the blanket emotion won't work for the whole scene, but what it does do is free the actor to commit to a big risk. More often than not, if you have given the right emotion for them to play, one or two lines will work perfectly, and it is these lines that are worth noting. This exercise will also help break an actor out of a rhythm and allow them to see another perspective on the character.

ANIMALS

This is a really fun exercise that is good to do if a rehearsal is getting stale. Although it can sound silly, it can be used for drama or comedy and again is designed to give a fresh perspective and breathe life into a scene.

1) Get the actors to consider their characters' spirit animal. If you have an idea, feel free to assign an animal to them.
2) Get the actors to spend a moment thinking about how this animal acts and moves.
3) Get the actors to do the scene, whilst channeling their characters' spirit animal. They shouldn't act like an animal, just bringing out their essence.
4) Discuss any thoughts around the exercise.

The two most famous examples of this exercise are Anthony Hopkins and Jim Carrey. In SILENCE OF THE LAMBS, Hopkins played a crocodile. It didn't mean he slithered around, but it did mean he never blinked, stayed still and then struck with ferocity and extreme violence when the opportunity arrived. Jim Carrey in ACE VENTURA channeled a bird of paradise. Again it didn't mean he acted like a bird, but it did inform his walk, hairstyle and confidence.

COUNTER OBJECTIVES

This early stage exercise is great for scenes where the obstacle to the characters getting what they want is the other character on stage. Best for two hander scenes.

1) Take each actor aside separately and give two simple, but conflicting objectives. Each actor can't know the other's objective. For example, you may tell on actor to keep continuous eye contact, whilst the other you may tell to never still for more than one line. Or tell one to move a chair to one side of the room, but the other to keep it where it is.
2) Get the actors to run the scene, pursuing their individual objective.
3) Discuss the results. (They'll be interesting).

What this does is make the conflict very tangible. One person wants one thing, the other wants the opposite. The frustration which will arrive and tactics used to achieve their objective will hopefully climax as the scene climaxes. This is another exercise to observe and discuss, rather than to direct, but jump in if someone stops pursuing their given objective.

PIGGY IN THE MIDDLE

This exercise is for scenes with three or more actors. It allows investigation of who is the driving force in the scene, and who is a bystander. Or to put it another way, who has the most power and who has the least.

1) Every actor takes a turn standing right in the middle of the stage with the other actors spread evenly around them.
2) Like the TAS exercise, the other actors can only move in towards the central actor or away, but they do this regardless of whether they are addressing the actor in the centre or another actor.
3) Play the scene out with these confines.
4) Every actor in the scene takes a turn in the middle.

What this does for the actors and the director is establish who is the driving force in the scene. The most powerful character will comfortable in the middle with action revolving around them. The most passive character will notice the action revolving around them without being able to influence it.

# data[].attributes.attachment_link.title
Directing Exercises | Directing Exercises and Games for Actors

# data[].attributes.attachment_link.description
Exercises are a great way to kick-start creativity and open up actors to play, whilst also exploring the text. It removes the actors from the confines of blocking and props and allows open ended experimentation with lines and character, without the pressure of 'performing'.

# data[].attributes.headline
what do i think about the mobile phone show?

# data[].attributes.subject
what do i think about the mobile phone show?

# data[].attributes.body
i can relate to this play, personally i would feel the same if i ever lost my phone. i found out that teenagers is mostly addicted to their phones, i'm one of them. i didn't lose my phones but for some reason my phone won't turn on, i felt like it was the end of the world for me.

# data[].attributes.body
when i watch this video, i saw that a lot of people where on their phones and the little boy tried to get their attention but they won't respond.

# data[].attributes.body
i mange to learn my lines in an hour and rehearsal it and see what needs to improve. for example i'm not making eye contact to the camera, i should make some eye contact, moving to much so i should think do i really need to move that much?

# data[].attributes.body
we mange to do it without the script and i had say it went well but i think that it needs to needs to be more dramatic and needs more emotion.

# data[].attributes.body
Pick three wants and use them when performing your monologue or duologue.

# data[].attributes.headline
Have a look through the brief to understand what is required of you. 

# data[].attributes.subject
Have a look through the brief to understand what is required of you. 

# data[].attributes.headline
Have a look through the brief to understand what is required of you. 

# data[].attributes.subject
Have a look through the brief to understand what is required of you. 

# data[].attributes.attachment_link.description
Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.