Tips on acting, i got my first lead role today...?
I'm Daisy, Gatsby's love interest in our school's version of The Great Gatsby.
There's a lot of pressure on me because the girl who's been the lead in every play since like 6th grade graduated last year...
I'm going to do some research on the part, but if anyone wants to share anything they know about daisy, i'm all ears :)
Oh and for anyone with acting experience, what are some tips you would give someone who's never had a lead role before? What looks good and sounds good on stage? How do i deal with nerves/pressure? And i've never had to do a stage kiss before...so any advice on that would be helpful too...
- Anonymous1 decade agoFavorite Answer
Same thing happened to me last year (only I was in 7th and got the boy lead of Horton in Suessical).
You'll have a blast.
Some tips from my experiance's last year:
Keep you reactions honest(natural for you're character) use their motivation (love, greed, envy, hate, hope, etc.) to determine how you act, but be sure that your actions are big. (Ask your theatre teacher what this means as they all seem to have different ideas)
Try to relate to the character (i.e. "How would I act in this situation compared to them?")
Be sure to project,-but not yell... In otherwords, talk like you need someone at the back of the room to hear you. (You'll get better if you're having trouble don't worry)
ALWAYS ALWAYS listen to the director and do what they say; it will make it more enjoyable and show that you can take direction well. (which may land you another lead in the future)
As far as dealing with nerves and pressure:
I would ignore it and really focus on not just acting as but BEING the character, focusing on their feelings not mine. (this may take a little practice, just start off by relating their feelings to past experiances)
As for pressure once onstage and durring a performance, if you're nerves get to you before the show/durring your time offstage...
Just tell yourself that everyone in the audiance is
1)There to see you and support you
2)not really there
3)ignore them and focus on the story line
I wish I had experiance with onstage kissing to help you, but all I had to do last year was hold hands with a girl and we had to sing to eachother like we we're in love. If you have to do this, just well, act like you really are in love. haha
And when you kiss onstage, make it look real (if you haven't kissed anyone before don't worry,) Kiss like your character, just pretend YOU aren't kissing, it's your character ONLY. :]
I really hope my advice helped!
If it's too confusing/ I didn't explain enough feel free to e-mail me!
Have fun and break a leg!
-Camm :]Source(s): previous school productions
- Anonymous1 decade ago
i always prefer the outgoing but not lead character.
but whatever tickles your fancy
first things first, project.
there's nothing worse than going to a play and not being able to hear a word the actors are saying
you must be loud, yet if you yell, the performance may be ruined. be very careful with that.
and after rehearsals maybe ask the director whether that is what you are doing...
another thing about speech, don't mumble. your words must be completely clear.
speak every word.
basically make sure you keep your mouth open. lol
now, stance and position.
I'm unfamiliar with the play you're doing, but take on a position for the character. for example, a tough man would stand with his legs apart and his arms crossed, with his chest puffed out.
again, i don't know what kind of character daisy is... but yeaah.
make a familiar walk as well.
daisy sounds like a girly girl, so maybe you walk with a skip in your step. - don't hold me to that though
make sure you never upstage the other characters.
my teacher always told me to create a v on stage.
and after a few rehearsals, it became natural to the cast.
urhhm, what else.
practice improvisation, just in case someone forgets a line, or worse, if you forget your lines.
which brings me to, LEARN YOUR LINES
use the 'magic if' to understand how your character is feeling
IF i were in that situation HOW would i feel?
and work from there.
make sure you show that emotion.
in real life we tend to hide our emotions, but on stage, the audience needs to know how we're feeling.
so i guess i'm saying, over react.
its called drama for a reason. so make it.
know what your characters motivation is.
if you're having an onstage kiss, then maybe your motive the entire play is to get that boy of your dreams.
work up to that point.
develop relationships with the other characters, as your character.
why are you friends with them?
or why aren't you?
more on characterization, it always helped me to write about my characters past, like how did she get to the way she is today?
urhmmm, what else.
the director knows best.
they weren't employed for no reason.
oh, don't you dare (yes, i'm threatening you now) sit in the background as a wall hanging. if you don't have a line, REACT to the other characters lines.
there is always someone in the audience watching you.
react to the other characters as if it's the first time you've ever heard that line.
i always watch the characters without lines, just to see how they react.
it determines a great actor from a sh*t one.
but above all... break a leg.
- Anonymous1 decade ago
1) Know your lines
2) Keep yourself under control and calm.
3) Do your best
4) Wear no underwear, It takes all the focus off the audience.
- baheLv 44 years ago
firstly, congratulations on your area. i understand in the theater they say, "There are not any small areas, merely small actors" yet i've got continually thought that replaced right into a load of hogwash advised to those with the "small areas" as a manner to lead them to experience extra advantageous, hehe! Kudos to you on winning a "super area" this time around. Now, as to suggestion on remembering lines, i might propose getting a line better half (the actor's equivalent of a study chum). You and your better half ought to study in the path of the finished play a minimum of one extra time (i understand you suggested you merely did the study by using in the present day) as a manner to become gentle with the %. of the play. Then start to interrupt down the artwork scene by capacity of scene. in the beginning up you study some characters (mutually including your person area, needless to say) and your better half takes the others. Then swap areas. i might propose this in view which you need to become gentle no longer merely including your person lines yet with the lines spoken till now and after your person--for the sake of cues. user-friendly sufficient, perfect? Now, if a line better half isn't a convenience you may locate the money for right this is something else you may try. First you need to save a replica of the play (or a minimum of the scenes in which you play) in its entirety. flow in the path of the script and (with a depressing permanant marker) black out your lines. After reading aloud in the path of the untouched script numerous circumstances (all areas mutually including your person) try reading aloud in the path of the blacked-out replica to boot. needless to say the blacked-out areas will tension you to apply what you bear in mind of your lines. it is hard in the beginning up yet you will see that each pass will become less complicated and less complicated. you additionally can use a extreme-lighter to return (in the script that has no longer been blacked-out) and mark the lines or words that provide you the main complication. i understand this may appear slightly daunting so do this in small bites in the beginning up. possibly merely one or 2 scenes at a time. I actual desire this facilitates. I did theater from complication-unfastened to extreme college to varsity, or perhaps some community theater. i've got had bit areas in the refrain, to leads, to narrator roles. . .you call it. those are some strategies which have helped me. i'm hoping they're efficient to you to boot. wreck a leg!