Learning Your Lines: The Compact Guide E-Book

Mark Channon

• Herausgeber: Nick Hern Books
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2021

Beschreibung

This accessible, systematic guide will teach you how to memorise your lines quickly and effectively, and let go of the fear of forgetting them – helping you build confidence and focus, and reducing anxiety and stress around auditions, rehearsal and performance. Inside, you'll find dozens of tips, tricks and techniques such as Memory Palaces, Mental Maps, Creative Memorisation, Visual Cues and many more, along with exercises and examples to illustrate how they work in practice. Discover how to harness these tools to strengthen your memory, and develop a personalised line-learning strategy that works for you and your acting process – one that is easier, faster and more enjoyable. The Compact Guides are pocket-sized introductions for actors and theatremakers, each tackling a key topic in a clear and comprehensive way. Written by industry professionals with extensive hands-on experience of their subject, they provide you with maximum information in minimum time.

Leseprobe

LEARNING

YOUR LINES:

THE COMPACT GUIDE

Mark Channon

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Dedication

Introduction

1. Strategise: Your Superhuman Memory

2. Prepare: Increase Your Levels of Focus, Reduce Mind-wandering and Get into the Zone

3. Prime: Raise Your Interest

4. Connect: Learn Without Tension, Stress and Anxiety

5. Embed: Remember Lines Faster and for Longer

6. Rehearse: Move Lines from Your Head into Your Body

7. Perform: Create Confidence in Any Situation

Conclusion: The Way Forward

References

Acknowledgements

Index

About the Author

Copyright Information

To Mum and Dad

for always believing

Introduction

This book is for any actor who is looking to improve their overall craft by letting go of the fear of forgetting, learning how to memorise lines quickly, and creating a level of confidence that reduces anxiety and stress around auditions, rehearsal and performance.

You may be wondering: is this book right for you? Is there a system for learning lines quickly? Does it work? Whilst writing this book, I’ve drawn on both my own real-world experiences as an actor using these strategies for myself, as well as my many years coaching and training other actors. By both practising and teaching memory strategies I have developed a systematic approach not just to learning lines quickly, but also to building confidence and focus when applying this approach.

The Recipe

Think of this book as a set of ingredients in a recipe, rather than a menu of tricks and techniques. As with all recipes, it’s beneficial to follow it as laid out at first. The first time, it may not turn out as expected, but with practice your skill will improve, and with enough time you will build the confidence to experiment with ideas, remove what doesn’t work, and add in what does, until you can eventually create something that feels personal and specifically yours.

Outcomes

We will focus on seven specific outcomes that deliver impact and results:

1. Reducing the time it takes to learn lines for self-tapes and imminent auditions.

2. Developing a strategy for line-learning that works with your current acting process.

3. Increasing confidence with readings during an audition.

4. Learning scenes rapidly for television shoots.

5. Getting off-book sooner in rehearsals whilst still having the flexibility to grow character, discover choices and adapt as scenes change.

6. Becoming present, in a state of heightened focus that raises your overall performance.

7. Remaining truthful in your interactions and still reactive to other characters and the environment.

What are the Biggest Challenges for You?

As you read through the following challenges, think about your own experiences and observations. If you had to choose your own top three from this list, what would you include?

Challenge no. 1: Time pressure

The first situation where time pressure shows up is in auditions. You have twenty-four hours or less to get a scene into your head with a healthy level of confidence, in what is very often a high-pressure, high-stakes situation. This ‘lack of time’ can create ineffective strategies that ultimately get in the way of you performing at your best.

The next is working as a guest or regular actor in a television show, where the quick turnaround times can lead to increases in expectation, with many actors feeling less equipped and even inferior to their peers.

Time pressure is generally less of a challenge in theatre and film; however, with large volumes of material to learn, it can feel like there isn’t enough time to build a high level of confidence.

Challenge no. 2: Lacking a clear learning strategy

Whilst many actors will have a process for character development, understanding text and a method for rehearsal, they can be haphazard, brute-forced and repetitive when it comes to the act of learning lines (especially in time-pressured situations). This lack of a clear line-learning strategy can end up with a ‘suck-it-and-see’ approach.

Challenge no. 3: Fear of forgetting

In all the workshops I’ve run, I don’t think I’ve ever met a single actor who hasn’t had the experience of drying – or at least of having someone else dry on them – whilst they were performing live. You go to speak and the words have momentarily escaped you; you feel the dryness in your throat, the feeling of stress building from your gut, the world moving in slow motion. Too many of these types of experiences can chip away at an actor’s confidence.

Challenge no. 4: Anxiety, stress and lack of confidence

Anxiety and stress are elevated when we think about all the things that could go wrong, the impact of not getting the job, not doing well, not being at our best, not being liked/loved, or just not being good enough.

Sometimes the anxiety is directly related to the job; at other times it’s about the life of an actor: you have bills to pay, your rent or mortgage is due; you have a partner or kids who are depending on you. As an actor, having the ability to create a relentless level of inner confidence is essential to letting go of tension and enabling you to perform at your very best.

Challenge no. 5: Negative beliefs and self-talk

‘I can’t do it’ – ‘I’m not good enough’ – ‘Will they like me?’ – ‘Am I right for this? – ‘What if I forget?’

As you grow older, you can adopt the belief that you are just not as sharp as you used to be, or you can’t learn in the same way. Whilst some of those beliefs are based on experience, they can often grow to the point where they don’t just slow you down but can stop you in your tracks.

Challenge no. 6: Staying present and connecting

It’s something that may sound obvious – however, it is still crucial to stay present and connected with the moment, your character and other characters in the scene. This can be a real challenge when you are in an audition or a time-pressured situation. Finding your flow can help enormously in your performance generally, and is essential for maintaining your memory or focus.

Challenge no. 7: Procrastination

Procrastination shows up in all areas of life; it’s that inertia that stops you getting started on the thing you know you ‘should’ be doing, and makes it feel like either it’s a bit too hard or it has a level of pain associated with it, so you end up doing something else a little less painful that changes how you feel in the moment.

The challenge with procrastination is that, as a deadline gets closer, the feelings of anxiety increase until, eventually, there is no choice but just to ‘do the thing’. By this point, stress levels can be very high; this is extremely counterproductive when learning lines.

How to Approach This Book

If there is one thing that has stood out for me when working with other actors, it is this: everyone has their own process. Whether you follow Stanislavsky, Strasberg, Meisner, your own gut or some other method, the outcome for most actors seems to be the same: create an authentic character, be faithful to the story, live in the moment and react truthfully.

So, whatever your process, you will discover that there is a way to integrate what you learn from this book into your method of working.

A word of warning though: some of these ideas may feel a little left-field or even a bit odd. Your job when reading will be to hold off any judgement until you’ve been able to give the activities in this book some more profound thought and experimentation. Think about your craft as an actor and how these ideas can be added to augment your existing practice, rather than changing the essence of your process.

You can choose to read through the whole book to bring to life the ‘big picture’ view and then go back and try out the activities. Or, jump in and play as you go, this is all down to your personal learning preference.

Above all, I have one simple suggestion for you in terms of approach: ‘Make this your own.’ You are much more likely to use what you own for yourself, and taking ownership is crucial to deriving real value from what you are about to experience.

A Final Thought

On a personal note, there’s something that I have always loved about acting: the playfulness and impact it has in the way it creates and recreates imaginary characters and worlds, and gives audiences experiences that can elicit a feeling of entertainment and a sense of reflection. It can even be a catalyst for change. With this in mind, be sure to have an attitude of playfulness as you progress through this book, and the impact will soon follow as a matter of course.

1. Strategise: Your Superhuman Memory

How Good is Your Memory?

Like most people, your memory will be good in some respects, and not so good in others. Think about it this way: if you were to score your memory between one to ten, how good would you say it is, where ten is the best possible version and one is the memory of a goldfish?

When I ask this question to a room of a hundred people, around twenty per cent believe they have poor memories (ranking themselves 1–3), seventy per cent believe they are average (4–7), and only a small percentage, usually around ten per cent, believe they have excellent memories (8–10).

How good we believe our memory to be can have an impact on how we approach a situation. Let’s say you have an audition tomorrow and you believe you have a poor memory; this will make you believe perhaps that you ‘can’t do it’, or that your ‘memory isn’t good enough to learn lines quickly’. You may even have past experiences to back both of these statements up. However, when you approach any type of memorisation or learning with this type of belief, it’s going to increase your levels of anxiety and impact on your performance.

The truth is we all have fantastic memories but we tend to focus on the moments where it didn’t work so well: the name you didn’t remember; the fact that slipped your mind; the location of your keys. But these are only a few of the jobs our memory performs, and like any set of challenges, they can be overcome with the right strategy; indeed, if you were to think about all the memories you have stored throughout your entire life, you would start to realise that your memory is, in fact, phenomenal.

The Right Mindset

In this chapter, we are going to plant some seeds to help you learn simple and effective strategies that support the belief that your memory is fantastic. It will offer you a practical toolbox to improve your memory going forward and create positive experiences around your opinions on memory. With a stronger belief in your memory, you will feel more relaxed and in control; you will ask better questions, be more curious and raise your levels of interest – because when you are interested in something, it is much more straightforward to remember details about it. Trusting your memory is a catalyst for rapid learning in any field.

As you read through this chapter, you may well be asking yourself: ‘How do I put these techniques into practice whilst learning lines?’ That is a fantastic question to ask, and it’s something which will become clearer as you progress through the book. In the meantime, play along with all the activities and, as questions come up, make a note of them, perhaps guessing the answer for yourself. As you get further into the book, you’ll find more practical ways to apply these techniques for learning lines. You can also make use of an online community as you read: www.markchannon.com/learninglines

Creative Memorisation

Creative Memorisation is a recipe for learning I have developed, which was born out of two-thousand-year-old techniques in the art of memory. Creative Memorisation builds on these techniques by bringing together four key ingredients to up your game when it comes to remembering, understanding and connecting to information on a physical and emotional level.

Flow

Flow is crucial for line-learning; it is the ability to become completely present, in a state where you are reactive, not thinking about what just happened or what is to come. As an actor you may have experienced this feeling many times. You have performed a scene, it felt like it went exceptionally well; however, you have no idea how you did it, and you’re unsure you can recreate it. In this state of flow, there is no anxiety, stress or tension, and you have higher levels of focus.

Later in the book, we will look at simple activities you can practise to get yourself into this state of flow consistently.

Imagination

Think of imagination as your ability to bring things to life in your mind through all of your senses. As an actor, it’s probably something you already practise; however, it’s less likely that you make the most of it when learning lines. As we dive into this model and try some practical activities, you’re going to have to take your imagination to a whole new level, which will benefit your overall creativity.

Association