文學專業(yè)外文翻譯--戲劇中話語的種類

1、<p>　　中文5940字,3378單詞，15800英文字符</p><p>　　畢業(yè)設(shè)計(論文)外文資料翻譯</p><p>　　學院 (系)： </p><p>　　專 業(yè)： </p><p>　　姓 名

2、： </p><p>　　學 號： </p><p>　　外文出處：Basics of English Studies, Version 03/04, Drama</p><p>　　附 件：1.外文資料翻譯譯文；2.外文原文。 <

3、/p><p>　　1.外文資料翻譯譯文</p><p><b>　　戲劇中話語的種類</b></p><p>　　戲劇的話語是在現(xiàn)實生活里人與人之間的對話中塑造出來的，然而，當一個人欣賞一部話劇的過程中仍然需要去思考現(xiàn)實生活中與戲劇中對話的差別。話劇的言語基本上總是被塑造或者說修飾并經(jīng)常去應(yīng)對各種不同的用途。在一部演出的故事世界水平中，語言是當然也

4、能夠呈現(xiàn)出現(xiàn)實世界對話中的語用功能。例如，要確保互相能理解對方并傳遞信息，使別人信服或去影響他人，與某人的經(jīng)歷或者感情信號相關(guān)連，等等。然而，戲劇中的語言往往擁有華麗浮夸的詞藻和充滿詩意的，例如，喜劇用不同于常規(guī)用途的言語的方式去達到吸引大家的注意力在其藝術(shù)本質(zhì)上（猶如文學作品中的語言）。在分析喜劇劇本的時候，人們應(yīng)該更仔細關(guān)注戲劇中可用的話語各種不同的形式。</p><p>　　在戲劇中，人物之間經(jīng)典的對話以及

5、整個情節(jié)場景是通過他們的話語互動來帶動和傳達的。戲劇中的話通常是由獨白和對話呈現(xiàn)的。一個獨特的對話形式，除了說話的人以外并沒有其他演員在臺上，這種形式稱之為獨白。 獨白在理查德III的時期出現(xiàn)頻繁，舉個例子，理查德經(jīng)常獨自留在臺上并講述他的秘密計劃。獨白主要用于更細致地表現(xiàn)人物性格同時也是從個人的層面來表達。換別的話來講：人物能夠在獨白中“講出他們的內(nèi)心”?；诂F(xiàn)實生活為出發(fā)點來考慮，表演者們在臺上解釋描述他們的感受、動機等等是奇怪的行

6、為，但是在戲劇表演中卻是很重要的，舉個例子，如果沒有這些解釋，人物將很難傳遞他們的想法。在敘事文本中，相反的，思維想法能夠直接通過某些手段呈現(xiàn)出來，例如內(nèi)心獨白或者自由間接話語。拿哈姆雷特中著名的獨白作為參考：</p><p>　　是生存還是毀滅，這是一個值得深思的問題：</p><p>　　究竟該保持內(nèi)心的高貴，而默默承受命運的暴虐與毒箭，</p><p>　　或

7、是挺身去反抗無涯的苦難</p><p>　　通過斗爭去終結(jié)他們。死亡，即是睡眠，</p><p>　　無他；如果說通過睡眠就能了解了</p><p>　　這般心痛以及千百種血肉之軀承擔的</p><p>　　皮肉之痛，這真的是一個完美的</p><p>　　天大的好事。死亡，即是睡眠；</p><p

8、>　　睡眠，也許會做做夢，啊，這是個阻礙：</p><p>　　當死亡的睡眠之夢來襲，</p><p>　　當我們擺脫了這一副腐朽的軀殼之后，</p><p>　　必定讓我們暫停并思考，</p><p>　　這使人終身受著折磨。</p><p><b>　?。?。。。］</b></p&g

9、t;<p>　　就這樣，顧慮是我們都成為了懦夫，</p><p><b>　　因此決行決斷的本色</b></p><p>　　蒙上了一層思慮慘白的病容；</p><p>　　本可以轟轟烈烈大有作為</p><p>　　由于思慮不同而化為烏有，</p><p>　　喪失了行動的能力。且

10、慢，</p><p>　　美麗的奧菲麗婭！女神，你的祈禱</p><p>　　是我一切的罪，請記住了。</p><p>　　(莎士比亞。哈姆雷特，III，1:56-88)</p><p>　　當奧菲麗婭登入舞臺的同時（“且慢，／美麗的奧菲麗婭”，在86行），哈姆雷特的演講在技術(shù)層面上講已經(jīng)不再是獨白。評論家常常提及簡單的“monologue”

11、，因為這是更長用的術(shù)語。如果是一段獨白，其他的人物可以留在臺上，或是偷聽說話人的演講甚至是直接由他或她陳述。重點是，一個人要在長時間內(nèi)把握整個舞臺。哈姆雷特的獨白向觀眾揭示了他的內(nèi)心的沖突矛盾。我們從中得知他在行動與保持被動中徘徊。事實是他在思考人生的苦難，死亡以及自殺的可能性中，表現(xiàn)出他是一個猶豫接近絕望的一個人物角色。同時，他的演說富含深刻的哲理，因而哈姆雷特在感性與理性中交錯。這個例子闡述了言語在戲劇中的主要功能，即間接表現(xiàn)人物特

12、征。</p><p>　　情感與語音語調(diào)改變了觀眾聽到某句特定臺詞的方式。其中一種臺詞是通過各種不同方式去喚醒完全不同的感情。演員在戲劇中通過臺詞直接的傳達是導(dǎo)演和作家運用的一種重要的技巧。以下是小提示。</p><p><b>　　給編劇的指導(dǎo)： </b></p><p>　　在你的腦海中生成這部戲劇的畫面。把對劇情關(guān)鍵的任何臺詞記錄下來，

13、并用一種符合場景基調(diào)的特定的方式去傳達。</p><p>　　用括號在臺詞前寫下演員需要表達出的情感。例如，如果這句臺詞需要表達的是憤怒，在這句臺詞錢寫下“（憤怒）”。</p><p>　　找到適合這句臺詞表達的音量。同樣地在括號標注。如果這句臺詞需要用竊竊私語來表達，在臺詞前面鍵入“（竊竊私語）”。</p><p><b>　　給導(dǎo)演：</b>

14、;</p><p>　　與演員們保持溝通。演員需要了解你看這部戲劇的視角以及你對他們的表演的想法感受。這對與演員建立融洽關(guān)系有所幫助。</p><p>　　指導(dǎo)你的演員進入角色。讓他們?nèi)ゴλ麄兊慕巧＿@對于演員們熟知如何傳達特定的臺詞有所幫助。在多數(shù)情況下，那些熟悉角色的演員能夠完美地進行獨白，因為他們知道這個角色是誰。</p><p>　　傾聽演員們說的臺詞。如

15、果有任何臺詞聽著感覺不對，要馬上告知他們。</p><p>　　給演員如何表達臺詞的例子。讓他們跟著你復(fù)述幾遍對話以確保他們都明白了這些臺詞的改變。</p><p>　　對話中詞語強調(diào)的實驗改變了對話對整個場景的影響。</p><p>　　給戲劇演員的提示－如何自然地哭泣</p><p>　　作為一個專業(yè)的演員，當出演一個戲劇場景的時候最常見

16、的問題可能就是“怎么按照指令所示去哭？”這個問題存在許多問題；然而，其中最重要的一個是并不是“按照指示去哭“。作為一個戲劇電影里的演員，你并沒有被期待哭泣或者動不動就流眼淚；其次，你被期待去成為一個對自身角色注入感情的，在這種情況下，你的眼淚自然會涌出。</p><p>　　學會如何在場景里哭泣是一個非常獨立的過程；然而，是有你能遵從并且?guī)椭阃苿舆@一表演技巧的特定提示。</p><p>

17、<b>　　不要強迫自己傷心。</b></p><p>　　當你出演戲劇場景或進行戲劇獨白的時候，你能很容易地從觀眾身上看出來你是否在強迫自己傷心或心煩意亂。這種感情是很原始的而且很普通，如果你并未切身感受它，它表達出來的時候會是奇怪的而且劣等的。那些最好的戲劇演員是那些能夠把他們?nèi)谶M角色當中，置身于情景當中的演員。這些演員能夠把他們自己帶進那個情境中，基于角色高度的感情狀態(tài)，眼淚會自然而然

18、流下。</p><p>　　記得我在電視試播工作的時候，我的所演的角色與他的母親有感情上的爭論。我花了幾個星期進行角色分析和劇本解剖，因為我與那個角色有很強的聯(lián)系。當我在那個場景出演的適合，我非常投入于我的角色所講的話，當我真的聽見我的“媽媽”說話的時候，眼淚就從我的臉龐翻滾下來了。這不是一個為了劇本的哭泣；但是，這種情感在我心里翻滾的時候自然導(dǎo)致了身體的反應(yīng)。</p><p>　　這是為

19、了告訴你，為了讓你能在戲劇演出中自然落淚，你必須與你的角色有強烈的連接，而且完全吸收別的人物對你所說的話。通過積極地聽而不是干等別的角色說完他的臺詞而你能接著說話，你需要創(chuàng)造一個真實的可信的情感聯(lián)系，這可以產(chǎn)生真實的情感反應(yīng)。</p><p><b>　　置身場景之中</b></p><p>　　在你踏上舞臺或者步入電影之前，置身于你所出演的場景中是很重要的。置身于你

20、的角色之中，在你的情境中，在其他角色之中以及情景如何影響你的角色的情緒。通過這樣做，你能完全潛意識地充滿在戲劇場景中需要高度表達的感情能量，這能致使你自然的生成眼淚。</p><p>　　若其他都失敗了，聞聞洋蔥吧</p><p>　　好吧，所以你是嘗試把你與你的角色相互連接，也真的在場景中聆聽了也嘗試把自己置身于劇本中；但是，你仍然無法讓眼淚自然流落。這不是一個正常的顯現(xiàn)，不要讓自己灰心

21、，因為有的時候無論你是一個多么出色的演員，眼淚就是不流下來。無論何時我的演員同事們或者我自己面對這種情況，最容易讓眼淚流下的辦法就是把洋蔥切一半，并深吸氣。這刺鼻的氣味會馬上讓你的眼睛充滿淚水，一旦眼淚開始流下，它會持續(xù)滴落。我經(jīng)常發(fā)現(xiàn)，只要簡單地讓眼淚生成之后會變成真的哭。</p><p>　　演員塑造他們角色的方式</p><p>　　幾年前，當我第一次飾演莎士比亞的時候，我花費了兩周

22、的時間排演，單純專注于臺詞的記憶。當我用心熟知這些臺詞之后，我開始嘗試用各種聲音與舉止去表達直到我對我的角色滿意為止。</p><p>　　最近，我與一位導(dǎo)演在音樂劇中合作。導(dǎo)演想花費幾個會議的時間與我單純討論這個人物的背景以及動機，而不是先學習臺詞。臺詞的記憶隨后再做。</p><p>　　你呢？你是怎樣創(chuàng)造你的角色的？</p><p>　　不要選擇一個不是你的角

23、色！</p><p>　　好吧！所以基本上來說，你不能（?。。。┙酉乱粋€你根本不享受飾演的而且沒感受到你就是那個人的角色。例如，你覺得你很愚蠢，你千萬別選擇一個討厭鬼的角色。這是你千萬不能做的事！但是如果這是一個從愚蠢的人變成一個聰明帥氣的討厭鬼的話，接下吧！你會變成一個聰明帥氣的討厭鬼 （我使用這個角色，因為我喜歡討厭鬼，哈哈）！所以說它是一個丑的老頑童。你知道這是你。但是她變的漂亮甜美。接了它！這同樣對你有效

24、。因為當你的角色改變，你也會改變。但如果你沒法得到這種類型的角色，那就不要單純地接下討厭鬼／頑童！接下你喜歡的角色并用你的正能量：時尚、傻笑、美麗、善良等等！變成你的角色。你投入你的演出越多，你就越能成為那樣！但如果你選擇了頑童（你沒有別的選擇）那么你不會變成頑童如果你全部投入進去！你會吧這部分飾演的很好的：我們都有罪。享受你的演出還有選擇像你的角色，并且做自己！</p><p><b>　　我怎么做&

25、lt;/b></p><p>　　當我演出的時候，我會確保其他演員看到我的演出，他們選擇了哪個詞，而且想明白為什么他們要這么說。如果說這個聽著很可怕，我要確保我給他們可怕的東西。聽其他人反饋是很重要的，他們從最初對角色的想法種會有不同的構(gòu)思。每次排演的時候，嘗試不同的性格去看看有何感受，這就是排練的意義。放松地去飾演一個瘋癲的角色，并感受樂趣，但是必須確保其他人都明白你說的話而且在戲劇中是合理的。要記住，在

26、劇院中任何東西都是夸大的，誠實的，人們花錢來看表演。比起保守的人，他們更樂意去看一個富有娛樂性的人，有著大嗓門和夸張的表演，熟讀劇本是很重要的，這樣才能直到在場景中發(fā)生什么，哪怕有人忘詞，就算所有都在前進，你也可以救場，拉回到劇本中。</p><p>　　看著你的臺詞并作反應(yīng)</p><p>　　如果你的臺詞讓你覺得你是一個古怪的年輕女孩，而在教室后面的討厭鬼男孩，惡棍轉(zhuǎn)英雄式的人，或者是

27、新進城的帶法國口音的女孩，爭取它！去做讓你覺得你表現(xiàn)的更好的！</p><p><b>　　跟隨大流</b></p><p>　　嘲笑你的錯誤，這樣才不會整晚躺在床上覺得丟臉而且害怕下一次排練。</p><p><b>　　塑造角色</b></p><p>　　當你塑造一個角色的時候，主要事情式你必

28、須要發(fā)覺場景中你的動機。你必須在整個表演中跟隨它。</p><p><b>　　性格的塑造</b></p><p>　　雖然這幾天作為戲劇技術(shù)工作，但我已經(jīng)在戲劇領(lǐng)域工作超過十年了。一邊來說這些天性格的塑造源于Stanislovsky 在演員準備中的奠基。通過研究及基本背景工作你能學習到或者決定你的性格是怎樣。嘗試一下簡單一些的讀物，試讀一下羅伯特寇恩的書《actin

29、g one》。他使用了Stanislovsky的初衷去創(chuàng)造了GOTE技術(shù)。GOTE是目標，他人，策略與期望的縮寫。運用這個簡單的模型，一個演員能夠把想要的，需要的，目標和他們個人用肉眼可見的方法記錄在紙上。這酒喝覺得的基本歷史相匹配了，例如婚姻狀況、年齡、性別等，這些都將帶領(lǐng)演員通往更深層面的思考。這些信息可以通過劇本提供，也通過一些調(diào)查（通過研究現(xiàn)實的人），還有一些是通過演員自身的判斷。</p><p><

30、;b>　　一切都從演出開始</b></p><p>　　這看來很明顯，但是第一次看清楚你的角色的時候是通過讀清楚演出。在對你的角色做任何決定和評判之前，先通讀整部表演三次。第一次閱讀是“愉快閱讀”。致使用作純粹的娛樂性質(zhì)一般讀整部戲劇，不要放任何獨特的關(guān)注在你的角色上。讀第二次，這一次要記錄下所有關(guān)于你的角色的描述，從其他角色做的事情從而影響到你的角色的各個細節(jié)。第三次閱讀記錄下你的角色說的有關(guān)

31、其他角色的話，還有所有你的角色在他們所在的世界所做的改變。這個時候，你應(yīng)該能有一個很好的框架去開始了。</p><p>　　如何成為一個好的演員</p><p>　　總有一個人能踏上舞臺并偷走整個表演。他們是把你拉進他們的世界然后把你們留在自己座位底下的好演員。請繼續(xù)讀下去，看看到底要如何成為這么偉大的演員，表達如此強烈的情感以至于搶走了你的觀眾。</p><p>

32、　　不要害怕。出去然后試聽。試試調(diào)大你耳機的音量，并擺一個好的姿勢，微笑并讓你看起來很快樂。</p><p>　　自信，不管你在戲劇中飾演什么角色。你是非常重要的，有時唱詩班是整個產(chǎn)品中很重要的一部分?？隙ㄓ腥诵枰诔姲嗬锏模Π驯痉肿龊?。</p><p>　　如果你在戲劇中沒有成功，不要放棄繼續(xù)努力！每個人都能演出點什么，比別人更多的經(jīng)驗。</p><p>　

33、　表達你自己。做一個好的演員主旨是表達你所感受的情感。觀眾需要的是知道發(fā)生什么而且感受這個特定的情景。</p><p>　　學會反應(yīng)。并不是所有人都認可表演即是反應(yīng)，但在學習表演的時候這仍然是重要的需要考慮的事情。這說明了你需要在你處于特定表演場景時的反映上下功夫。</p><p>　　把你自己關(guān)在你的角色的世界中。在情形中對其他人物做你的角色會做的 反應(yīng)。把你自己保持在這個狀態(tài)中。不

34、要嘗試或開始預(yù)想下一個情景，或者回想你在前一個場景中說的臺詞對不對。</p><p>　　讓你的姿勢符合你的人物形象。很重要的是你要記住，一些很小的事情例如一個動作都能對你的角色造成很大的區(qū)別。并不僅僅因為這讓你看起來更自信，但它也會讓你感覺到更自信，因為它會強迫讓你站直而不是把背拱得太遠。</p><p>　　控制你的語速與音量。當背臺詞的時候，很可能會致使人盡可能快地說出來。雖然，要小

35、心不要過度夸張睇表達。速度放得太慢會讓你聽起來像機器人，而且會讓你的觀眾覺得無聊。仔細想想，一個人會怎樣說出這些詞語。同樣，確保你展現(xiàn)出足夠大的音量讓戲院后面的觀眾都能聽見你的聲音，但避免吆喝。電子設(shè)備替代。</p><p>　　有重點地表演。想想每句臺詞里頭的潛臺詞，并且有根據(jù)地強調(diào)。這可能聽起來不太重要，但是強調(diào)能給你說的任何一句話帶來巨大的影響。我愛你表達完全不同于我愛你的意思。</p>&l

36、t;p>　　把你自己放進去你的角色當中。你不可能適當?shù)爻尸F(xiàn)出你的角色，除非你能把自己放進他們的腦子中。甚至，雖然你的話語是劇本寫好的，但是你的行動和舞臺場面設(shè)計不總是不變的。再者，了解你的角色能在有人忘詞的時候幫助你即興發(fā)揮。</p><p>　　不要打破第四道墻。除非這被特別聲明了，不然要避免跟觀眾打招呼。這么做會讓觀眾更容易忘記你在表演，這會讓整個成品沒那么可信。</p><p>

37、;　　永遠不要做和電影里的演員一樣的。讓你的角色獨一無二。是的，在電影里他們把角色詮釋得很好，但是你不想去復(fù)制。</p><p>　　說之前想清楚，這樣你不會把“額”或者口吃帶出來。這樣會讓你的觀眾感覺無聊而且失去興趣。</p><p>　　讓肢體動起來！爵士手、豎拇指、一個戲劇性地靠在臀部上、揉眼睛、吐舌頭、拖著腳走路、撩動頭發(fā)、微笑、凝視任何與你角色有關(guān)的動覺，都要嘗試，不要讓它變得空

38、白而后流逝。</p><p>　　當你緊張的時候要清楚知道你做的事。避免玩弄頭發(fā)、雙手插袋或者拖動雙腳。深呼吸，或者喝點水來對付你的緊張情緒。安撫自己，會變好的。</p><p>　　努力做一些某人真的會做的事。例如，如果你很傷心，會在你的眼神里表達出來，而不僅僅是你的嘴巴你的聲音。如果你生氣，拉緊自己，怒目而視，讓憤怒看起來真實！</p><p>　　永遠不要讓你

39、的替補說一些讓你離開的話！</p><p>　　在臺后，要有禮貌！不要在臺后說話，或者阻礙出入口。</p><p>　　學習你的臺詞。如果你不熟悉他們，你會在臺上冷場！</p><p>　　在排演的時候穿好服裝－確保你已經(jīng)準備好了??！不要緊張。如果你是完全平凡的其中一員（唱詩班也一樣?。?。在排練中化好妝并穿戴整齊，因為這會讓導(dǎo)演看見你在成品中的樣子。</p&g

40、t;<p>　　真實的事情－在大日子中你已經(jīng)做好準備了，等就好了！如果你有一場表演需要唱歌，至少在表演前四小時不要進食任何東西。提前15分鐘到場，并預(yù)想，如果你在公開表演的樣子。不要緊張，只需要走出去把你的內(nèi)心唱出來就好了。做你做好的表演！如果有人忘記了他的臺詞，用合情合理的方式掩蓋它，冷靜地帶過，不要讓它變成大大的慌亂。你會做的很好的!</p><p><b>　　2.外文原文</

41、b></p><p>　　Types of Utterance in Drama</p><p>　　Dramatic language is modelled on real-life conversations among people, and yet, when one watches a play, one also has to consider the differen

42、ces between real talk and drama talk. Dramatic language is ultimately always constructed or ‘made up’ and it often serves several purposes. On the level of the story-world of a play, language can of course assume all the

43、 pragmatic functions that can be found in real-life conversations, too: e.g., to ensure mutual understanding and to convey information, to</p><p>　　Monologue, Dialogue, Soliloquy</p><p>　　In dra

44、ma, in contrast to narrative, characters typically talk to one another and the entire plot is carried by and conveyed through their verbal interactions. Language in drama can generally be presented either as monologue or

45、 dialogue. Monologue means that only one character speaks while dialogue always requires two or more participants. A special form of monologue, where no other person is present on stage beside the speaker, is called soli

46、loquy. Soliloquies occur frequently in Richard IIIfor </p><p>　　To be, or not to be, that is the question:Whether ‘tis nobler in the mind to sufferThe slings and arrows of outrageous fortune,Or to take ar

47、ms against a sea of troublesAnd by opposing end them. To die – to sleep,No more; and by a sleep to say we endThe heart-ache and the thousand natural shocksThat flesh is heir to: ‘tis a consummationDevoutly to be wis

48、h’d. To die, to sleep;To sleep, perchance to dream – ay, there’s the rub:For in that sleep of death what dreams may come,When we have </p><p>　　As soon as Ophelia enters the stage ("Soft you now, / T

49、he fair Ophelia", line 86f), Hamlet’s speech is technically no longer a soliloquy. Critics often refer to it simply as monologue, as this is the more general term. In case of a monologue, other characters can be pre

50、sent on stage, either overhearing the speech of the person talking or even being directly addressed by him or her. The main point is that one person holds the floor for a lengthy period of time. Hamlet’s soliloquy reveal

51、s his inne</p><p>　　Emotions and voice inflections change the way the audience hears a certain line. One line can be delivered in various ways to evoke completely different emotions. Directing an actor in li

52、ne delivery is an essential skill for playwrights and directors. Here are tips.</p><p>　　Instructions For Playwrights：</p><p>　　Visualize the play in your head. Take note of any lines that are c

53、ritical to the plot and must be delivered in a certain way to match the tone of the scene.</p><p>　　Write the emotion the actor needs to use when delivering the line in parentheses in front of the line. For

54、example, if the line needs to be angry, write "(angry)" before the line of dialogue.</p><p>　　Find the correct volume for delivery of the line. Write this in parentheses as well. If the line needs

55、to be said in a whisper, type "(whisper)" before the line.</p><p>　　For Directors</p><p>　　Stay in communication with the actors. The actors need to know your vision for the play and h

56、ow you feel about their performances. This helps establish a rapport with the actors.</p><p>　　Direct your actors to stay in character. Ask them to study their characters. This helps the actors know how to d

57、eliver certain lines. Many times an actor who knows the character will deliver dialogue perfectly because he understands who the character is.</p><p>　　Listen to the actors as they deliver lines. Tell them i

58、mmediately when something sounds wrong.</p><p>　　Give the actors examples of how the line needs to be delivered. Let them repeat the dialogue back to you a few times to make sure they understand the changes.

59、</p><p>　　Expereiment with emphasis on the words in the dialogue to change how the dialogue affects the scene.</p><p>　　Tips for Dramatic Actors - How to Cry Naturally</p><p>　　As a

60、 professional actor, perhaps one of the most commonly asked questions when it comes to performing a dramatic scene is, "How do you cry on command?" There are several things wrong with this question; however, on

61、e of the most important of these is it is not "crying on command." As an actor within a dramatic film, you are not expected to cry at the drop of a hat; rather, you're expected to become so involved in your

62、 character and in the circumstances the tears begin to flow naturally.</p><p>　　Learning how to cry within a scene is a very individualized process; however, there are certain tips you can follow to help jum

63、pstart this acting technique.</p><p>　　Don't Force the Sad</p><p>　　When you're acting in a dramatic scene or delivering a dramatic monologue, the audience can easily tell if you're

64、forcing yourself to become sad or distraught. This emotion is so raw, and so common, if you are not feeling it with true conviction it comes across as hokey and cheesy. The best dramatic actors are those who can actually

65、 place themselves within the character, and within a scene. These actors are able to transport their mind into the situation, and due to the highly emotional state of</p><p>　　I remember working on a televis

66、ion pilot, and my character was having an emotionally charged argument with his mother. I spent several weeks performing character analysis and dissecting the script, thus I had a strong connection with this character. W

67、hile we were filming the scene, I was so involved in what my character was saying, and I was actually LISTENING to what my "mother" was saying tears began to roll down my face. This wasn't a scripted cry; h

68、owever, the emotions running through me cau</p><p>　　This goes to show you, in order to make yourself cry naturally during a dramatic scene you must be fully connected with your character, and actually absor

69、b what the other characters are saying to you. By actively listening and not just waiting for them to finish their line so you can speak, you create a realistic and believable emotional bond, which will result in the nec

70、essary emotional reactions.</p><p>　　Mediate on the Scene</p><p>　　Before stepping onto a film set or onto a stage, it is important to mediate on the scene you're about to perform. Meditate

71、on your character, on the circumstance, on the other characters and how this scene is affecting your character emotionally. By doing so, you are filling your subconscious with the emotional power needed to deliver a high

72、ly dramatic scene, which will result in a natural formation of tears.</p><p>　　When All Else Fails, Sniff an Onion</p><p>　　Okay, so you've tried connecting with your character, truly listen

73、ing within the scene and meditating on the script; however, you're still unable to make the tears flow naturally. This is not an uncommon circumstance, and don't let it get you down as sometimes crying just doesn

74、't happen no matter how great of an actor you truly are. Whenever my fellow actors or myself have encountered this situation, the easiest way to get the tears flowing is to cut an onion in half and take a big sniff.

75、The pu</p><p>　　Ways for Actors to Develop Their Characters</p><p>　　A few years ago, when I was performing in a Shakespeare play for the very first time, I spent the first two weeks of rehearsa

76、l just focusing on line memorization. After I knew all of the lines by heart, I then began experimenting with different voices and mannerisms, until I was happy with my character.</p><p>　　More recently, I w

77、as working with a director in a musical comedy. Instead of learning my lines first, the director wanted to spend a few sessions just talking about my character's background and what motivates my character. Line memor

78、ization came later.</p><p>　　What about you? How do you create your characters?</p><p>　　Don’t choose who you're not!</p><p>　　Ok !So basically you cant (!!!) take a character t

79、hat you do not ENJOY acting and FEEL as if you are the person. . eg. You think you are dumb, you must NOT take the role as a nerd. This is something you cannot DO! BUT If the role is a dumbo BECOMING a clever awesome ner

80、d THEN TAKE IT! You will then become the clever awesome nerd (I used this example cos I love nerds xD)! So say its an old ugly brat. You know its you. But she BECOMES beautiful and sweet. TAKE IT! This will also work in

81、you. As yo</p><p>　　How ? do it</p><p>　　When i act i make sure to note how other characters see mine, what words they chose, and figure out why they say them a certain way. ?f it says they soun

82、d scared, ? make sure ? give them something to be afraid of. ?ts important to listen to the feedback of others, they will have different ideas from what they initially thought of the character. Everytime you rehearse try

83、 something different with your character to see how it feels, thats what rehearsals are for after all. Feel free to be a wacky </p><p>　　Watch your Lines and Responses</p><p>　　If your lines mak

84、e you feel as if you are a ditzy teen girl, the nerdy boy in the back of the classroom, the villain-turned-hero type of guy, or the new girl in town who has a French accent, go for it! Just do what you feel would make yo

85、ur show (and character) even better!</p><p>　　Go with the flow</p><p>　　Laugh about your mistakes and you wont be embarassed or stay up in bed all night dreading the next rehearsal.</p>&

86、lt;p>　　Developing Character</p><p>　　When you develop a character,the main thing you must discover is your MOTIVATION in the scene. You must also FOLLOW THROUGH the WHOLE time during the performance.</

87、p><p>　　Character Development</p><p>　　Though working these days as a theatrical techy, I have worked for 10 + years in the field of theatre. Generally the standard these days for character develop

88、ment stems from the foundation laid by Stanislovsky in The Actor Prepares. Through research and basic ground work you learn or decide who your character is. For a bit easier read try Robert Cohen's book Acting One. H

89、e has taken these initial ideas from Stanislovsky to create the GOTE technique. Which stands for Goal, Others, Tactics, & Expe</p><p>　　It all starts with the play</p><p>　　It seems obvious,

90、 but the first place to get insight into your character is by reading the play. Before making any decisions or judgments about your character, read the whole play three times. The first read is a "pleasure read"

91、;. Just read the play as a whole purely for enjoyment purposes, paying no particular attention to your character. Read the play a second time, this time recording everything that is said about your character, and every d

92、etail you can find about the environment and people s</p><p>　　How to be a good actor or actress</p><p>　　There is always someone who can step on stage and steal the whole show. They are such a

93、good actor/actress that they pull you into their world and leave you on the edge of your seat. Keep reading to find out how to be a great actor/actress and show strong emotions that will captivate your audience.</p>

94、;<p>　　1 Don't be scared. Get out there and audition. Try your hardest be loud have good posture. Smile and look like you are having fun.</p><p>　　2 Be confident, no matter what role you get in th

95、e play. You are really important sometimes the chorus is one of the most important parts of a production ... someone has to be in the chorus. You'll work your way up.</p><p>　　3 If you don't make it

96、in the play, keep trying and don't give up! Everyone can act some just have more experience than others.</p><p>　　4 Express yourself. The main idea in being a good actor or actress is expressing emotion

97、and what you're feeling. The audience needs to know what is happening and to feel about certain situations.</p><p>　　5 Learn to react. While not everyone agrees that acting is reacting, it is still an im

98、portant thing to consider when you're learning about acting. This means that you have to work on your responsiveness to any given acting situation.</p><p>　　Engage yourself in your character's world.

99、 React to circumstances and other characters as your character would.Keep yourself in the moment. Don't try and start thinking ahead to the next scene, or agonizing about whether you said your lines appropriately in

100、the previous scene.</p><p>　　6 Make your posture match your character. It's important to remember that something as small as an accurate posture for your role can make a big difference. Not only does it

101、make you look more confident, but it will also make you feel more confident because it will force you to stand tall, but don't arch your back too far.</p><p>　　7 Monitor your speed and volume. When recit

102、ing lines, it's tempting to blaze through them as fast as you can. Be careful not to over exaggerate, though. Slowing down too much will make you sound robotic and will bore your audience. Think about how someone wou

103、ld actually deliver these words. Likewise, be sure to project your voice enough that you can be heard in the back of the theatre, but avoid yelling. Project instead.</p><p>　　8 Play with emphasis. Think abou