Actor'S Analysis Chart - Kidstage (Page 2 of 2) in pdf

THE CHARACTER VS. THE ACTOR:

1. How am I like the character?

2. How am I different from the character?

3. What can I use from my own experience to help me imagine the things about the character’s life that I

have not encountered?

SCORE OF THE ACTION:

1. Character’s motivation force (super-objective) in relationship to the play’s theme and spinal action.

A. Who am I?

B. Where am I?

C. What do I want in the play?

D. Why do I want it?

E. What hinders me from getting it? (Obstacles)

F. What am I willing to do to get what I want?

G. Who do I want it from? (Relationships)

H. Why do I want it now? (Urgency)

2. Scenic breakdown for each scene that you are in

A. Overall intention of the scene: name it with an active verb (not a state of being)

B. Break the scene down into small units of action (BEATS), name them and name a physical

action, logical and appropriate to my character’s behavior, that will accomplish this intention.

Verbal action is another kind of physical action.

We say something to accomplish a need or motivation, just as we do something to accomplish it.

C. Discover the personal imagery (inner objects) needed to focus your attention.

D. Inner monologue: What am I thinking when I am not talking? How does it lead me to what I

am going to say next?

E. Subtext of verbal action – what am I thinking when I am talking? Why am I speaking instead of

doing?

F. Activities: what am I doing besides seeking an intention – am I making a bed, eating dinner,

sewing, setting the table? How can my behavior with the activity reflect my subtext?

G. Find an overall sensory condition for the scene. How does it color my behavior (i.e. being cold,

hungry, sick, etc.)

H. Invent obstacles that will heighten my behavior and make my task more urgent, aside from the

given obstacles in the script.

I. Preparation to enter or being: where was I just before? Where am I now? What do I expect to

find when I enter? What do I want when I enter?

These are most of the stimuli that color your behavior in the play and that help you experience the whole

human being so that you can make behavioral choices that will illuminate the play and the character for the

audience.

Imagination is working from the KNOWN to the UNKNOWN: Work from what you know and you will

find yourself naturally and organically in the play.

Actor'S Analysis Chart - Kidstage Page 2