Actors Equity Actors Etiquette

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write 3 journal for acting1. one single page for each article.

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Vid STAGE TERMINOLOGY AND SHORT HAND or a scene, w to find an skill and will UR UC onstantly a do they go ered in ord ning the ar UL R С WINGS / L WINGS / iys remem ding the te you think ginative es, art, m ng that se SIDE STAGE RIGHT SIDE STAGE LEFT DR DC DL APRON lerstand an also e word, AUDIENCE BLOCKING SHORT HAND ars use / use a e thing e goir UR UPSTAGE RIGHT L LEFT, STAGE LEFT y the UC UPSTAGE CENTRE DR DOWNSTAGE RIGHT UL UPSTAGE LEFT DC - DOWNSTAGE CENTRE ig se , cha king R DL RIGHT, STAGE RIGHT = DOWNSTAGE LEFT - С CENTRE, CENTRE STAGE esti ? B at CROSS COUNTER CROSS = - Х ENTER EN;NTR WITH w/; w te 'e EXIT EX; XT OF 1 9 RISE BELOW U n = 05 G SIT ABOVE 7 기 2 JACK (ie. Someone's name) J 2 STEPS (2 steps in = 2in) Abbreviate stage furniture, such as CHAIR = ch. EXAMPLES OF USING SHORT HAND... Jane enter upstage centre. Cross down left to chair, sitent. UC x DL ch. Bob enter upstage right with George. B) ent. UR W George counter cross 4 steps right to table. G 4 tbl. Photo on 9-21-17 at 9....jpg Project2Pic.jpg I Think Therefore I Am.pdf +显示全部 x 091 BOX PL W W Fadli W W Quiz STAGE CRAFT in the theatre The Set and Props 11 king your about get for you to that pla ilently t The Actors k the ith t pun THE SET - Furniture, walls, doors and any other architectural features that are created specifically for the onstage world of a complete the play. I use what serve you f PROPS/PROPERTIES - Any item used in a play that is not fixed to the set. Hand Props - small objects that actors use on stage e.g. tea cups, letters, books etc Costume Props - costume accessories used by actors when executing business e.g. fans, handkerchiefs, walking sticks etc ers! Personal Props - hand props that are carried by one actor and used by only them. Actors are responsible for their own personal props. Props Table - the table where all props are arranged before the show starts. Each prop has its own space and must be accounted for at the end of the show and the beginning. itory is. ghts C poetr o be ACTOR - The performers who interpret characters for presentation on stage for an audience. As part of their preparation actors may use any or all of the following tools and pieces of information to build their character... The Protagonist - The central figure or hero of the play. ey The Antagonist - The character in direct opposition to the main character or Ĉ Protagonist. Given Circumstances - Any piece of information dictated by the play or the director that affects the actor's playing of the scene e.g. the environment, relationships, era, location etc. Action/Intention/Goal- What the character wants in a scene e.g. to get my lover to forgive me. Obstacle - Whatever is in the way of the character's Goal/Action, must be overcome by using Tactics/Activities e.g. the obstacle to getting a lover to forgive you could be your lover's anger, so as part of your action, you must deal with this obstacle with appropriate tactics. Activities/Tactics/Tools - Usually described in transitive verbs, the individual tactics that make up the playing of an Action/Goal and the overcoming of obstacles e.g. to shame, to enlighten, to belittle, to irritate. Beats - A term describing a section in the play that contains one action/goal. When the action/goal changes, so does the beat. Each character has their own set of beats as determined by their actions/goals. Objective/Super-objective- The overall goals of a character for the duration of the play e.g. to get married and settle down. As opposed to the Action or Intention in a scene, which serves only that immediate moment, the Objective and Super Objective have longer term effects. The "Magic if" - Stanislavski's “magic if gives the actor access to imagined experience of the moments in the play that they must enact, by asking themselves "what if this happened to me?" and imagining their own responses and reactions. Aside - A dramatic convention where a character speaks a line of text directly to the audience, and by convention, it is not heard by the other actors on stage. Soliloquy - A speech reflecting on a characters personal thoughts and feelings, not intended for the ears of other characters. Monologue - A long, uninterrupted speech by one individual character in a play. Scene - A section of an act of a play which functions as a distinct unit of the play; also the actual setting or locale e.g. the scene of the play is the English countryside. ic b Bi PROSCENIUM ARCH stage seating THRUST STAGE stage seating seating seating THEATRE IN THE ROUND seating stage seating seating seating AMPHITHEATRE stage *... seating Actors' Equity Actors Actors' Etiquette These guidelines are courtesy of the Actors' Equity Education Department: There is a code of conduct by which any actor worth his or her Equity union membership should abide. Most of these you know-they're just common sense. So when you are lucky enough to work, follow these simple rules: Punctuality You've heard about it your whole life and being a professional means there are no excuses or lateness to a rehearsal or performance. There are moments when a real crisis may disrupt you from your appointed arrival time, so plan for those moments by arriving well before the designated time. Those extra minutes will allow more time for warm-up, build an ensemble, or get you in the right frame of mind. If lateness is truly unavoidable, you must call your stage manager (funny, they're never late) and let him or her know your expected arrival time. Read What You Sign Even though Equity's major benefits are our negotiated contracts, business representatives, and member services, read everything you are asked to sign, even from Equity. Rehearsals For many, this is the most exciting time of being in a show. Take time to explore your character (why do you cross on that line?), fine-tune stage business or justify your choreography. Even if you can't wait to get in front of an audience, let those actors who love it, relish it. Cell Phones Turn them off when entering a rehearsal or performance space. There are appropriate times to use them, so hang up! Notes Getting Them: Always be gracious, even if you disagree. Say "Thank you" after the director gives you the note, or “May we speak about this later?" if you don't understand or disagree. The note session is not therapy for your character, but rather a session of quick fixes for many elements of the show. Find time for you and the director to solve issues that affect you or your character only. Giving Them: NEVER, (did you read that?) never give another actor notes and never allow yourself to receive notes from another actor. A response could be, "Thanks for your help, but I think it's best we do this kind of thing through the stage manager or director." There is no room for flexibility here. Wouldn't you resent it? Costume Fittings Costume fittings are tricky. Let the designer know your concerns but avoid doing his or her job. Too much unwanted advice to a designer, and you could end up in a tube top or out of a job. Gossip You know its wrong. We heard you say it. Quiet! As you learned in the last rule, sometimes keeping your mouth shut is a good thing. We will expand on that theme-keep the noise down when you are backstage. Avoid all talking and/or whispering; some theatres actually DO have good acoustics. Keep your voice and laughter down even when in the dressing room. Like the song says, "Hush, hush. Keep it down now. Voices carry.' Tech Rehearsals You know what we're going to say, right? That is the only time the designers get to fine tune their work with you there. So, pay attention. Don't disrupt their rehearsal and stay close to the stage, because they're always going to go back a few scenes when they resume. Backstage Drama Just because we play dramatic characters onstage does not mean we must portray them off. When you are in a show, the theatre becomes a tiny universe. Remember, it is temporary, and there is a real world outside those theatre doors. Don't be a RT OF A st comp if you h er. TRIES TRIES TRIES either : ecifica cess! JOUI in h and ineci 7 int in o stereotypical diva or demanding actor. If love should bloom while in a show, great! Keep it outside! If you have a personal struggle, sorry, but keep it outside. You were hired for your performance abilities; perform. Half-Hour This is a misnomer. The stage manager may set any reasonable arrival time for any actor in any show. You should welcome your time in the theatre. So get there early; there are many things to do. Props There are two major rules here-never play with a prop and always check your props before each show (luckily you got there before "half-hour"). Those two rules seem instantly understandable but are rarely followed. Follow them. The first night you discover the climactic letter in your pocket missing before your entrance, you'll understand. Illness There are sick days built into many contracts; use them when you NEED to. Ad Libs and Changes to the Script As the performance wears on, you may feel that you understand the character better than the playwright. You don't, so quit making up lines. Opening Night Congratulations! Have fun at the party but remember, you have a show tomorrow night. Marking a Performance The lone audience member today paid the same ticket price as the full house that loved your performance last night. You have a responsibility to all involved to perform the show as rehearsed and to do your best. If that doesn't sway you, that lone audience may be someone important in the business. Now, you're listening. Maintaining a Performance You can look at a long run either as a chore or the world's best acting class. You get to ply your craft and test your choices in front of an audience ("Why did I get that laugh last night and not tonight?"). Quit complaining and stay fresh. There are worse things than having a job. Respect Our final category is perhaps the most obvious and the most abused. We appeal only to the basest of reasons for having respect (Remember, nothing spreads faster than your reputation): For Staff They can hire you again For Crew They can hurt you For Directors They can make your life miserable For Designers They can make you look stupid For Actors' Equity They can upstage you For Yourself - That means value your contribution to the show by following the above guidelines and taking care of yourself when rehearsing and performing. Keep healthy throughout the run. You were chosen over many other actors for this role, so respect yourself and live up to everyone's belief in you. you PS C mc stic N 71 U - - -
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Running head: ACTORS ‘EQUITY ACTORS’ ETIQUETTE

Actors ‘Equity Actors’ Etiquette
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ACTORS ‘EQUITY ACTORS’ ETIQUETTE
Actors ‘Equity Actors’ Etiquette
This journal section communicates the importance of etiquette to the stage performers.
Etiquettes are the code of conduct which any player worth equity member should abide by. Most
of these etiquettes are just a matter of common sense. One should therefore work, follow such
simple rules.
The first actor etiquette is punctuality. This involves one not being late to either a
performance or rehearsal. At times, a real crisis may disrupt one from arriving at the set time. To
counter this, one should plan for such moments by coming before the fixed period. The extra
time should be used in warming up, building and assemble and getting one to the right frame of
mind. In a situation where lateness is unavoidable one should contact the stage managers in time
and inform them about the time they should expect them to arrive
Another actor etiquette is reading what one has signed. Despite the fact that the main
benefit of equity is negotiated a contract, representatives of the business and other service
members always everything they are asked to.
The other equity is rehearsal which is the most exciting time of being ...


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