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how soon to memorize?

Question:

I am wondering at how soon other people require their actors to memorize the the lines.

I am an actor and can tell you that the memorizing of lines is certainly the least of an actors concerns.  The best way to rehearse a play is to learn what you are saying, why you are saying it, and to whom it is being said.  Once your objectives and motivations are clear, the lines seem to just be there, you need them.  There is really no need to ever sit down and learn lines per se.  The lines are the culmination of a characters thought; to try and impose the learning of lines too early in a rehearsal process puts the cart in front of the horse.  Obviously the actors need to be constantly working, but it is not pure memorization.  It’s much more valuable to the actor to work in this way, then feel pressured into some sort of timeframe.

Response:

: I am wondering at how soon other people require their actors to memorize the : the lines. : : I am an actor and can tell you that the memorizing of lines is certainly : the least of an actors concerns.  The best way to rehearse a play is to : learn what you are saying, why you are saying it, and to whom it is being : said.  Once your objectives and motivations are clear, the lines seem to : just be there, you need them.  There is really no need to ever sit down : and learn lines per se.  The lines are the culmination of a characters : thought; to try and impose the learning of lines too early in a rehearsal : process puts the cart in front of the horse.  Obviously the actors need to : be constantly working, but it is not pure memorization.  It’s much more : valuable to the actor to work in this way, then feel pressured into some : sort of timeframe. I have been following this thread with interest and carefully refraining from butting in, but this one is really too much!  Mr (or Ms) skunk is in some sort of dream world.  In the real world with short rehearsal periods you had damn well better have the lines down before you start.  Yes it is harder this way but no you do not have to develop detailed character aspects while simply learning the lines.  I’ve been through all the excuses (I mean I’ve used them) "I need to learn the lines as I develop the character during rehearsals"  I can’t learn the lines until I have my blocking" And now I freely confess it’s all BS!  When I put dropped into the position of learning the lines before rehearsals started I bitched and moaned, but I managed it (more or less)..but it was tough.  But the next time it was easer.  So anyone who says they can’t learn lines till rehearsals start is being lazy.  If you want to indulge them then that’s your choice.  If you have a long enough rehearsalperiod then fine.  But going that route, then half-way through the rehearsal period is the ABSOLUTELY LAST time for books to be used.  As so many have said, you can’t work at the job of acting and all it entails with a script in your hand.  And never cast those people who tell you "I’ll be fine on the night"  Not learning lines until the last minute cripples the rehearsal process and is rude and inconsiderate to both the director and fellow actors.  Actually it is also a dead give-away about what kind of a performance you’ll get.  The last-minute learners have no consideration for the other actors-they’re self obsessed and their performances show it. They are developing their character in isolation and theyfrequently don’t listen to what the other charadcters are saying. All right…I’ve stamped around the room enough and aired one of my pet peeves. Angus Hepburn Peekskill Rep

Response:

:    Lines should always be down one week into rehersal at the latest. : Some actors want their lines before rehersal even begins but others feel : they are more spontainious if they wait. But one week should be it.

In our college theatre, most of the students with whom I work are inexperienced, untrained actors. They are not theatre majors (we don’t have one), and they have no intention of going into theatre as a profession. They do not know how to analyze and prepare a role. They are, however, hard-working and willing to learn. It also makes a big difference when I have worked with one of them in a previous production. We use the rehearsal process as a way to help them learn how to analyze and prepare a role. If they were to memorize the script at an early stage in rehearsal, I suspect they would be simply parroting lines. Yet, I also know that it would most beneficial for them to be off book as early as possible. I tend to delay the process too long, I’m starting to think. This thread has really got me wondering. Right now, we’re beginning rehearsals of our spring production, The Crucible. I really want Abigail and Proctor and Proctor and Elizabeth to begin to work on developing their relationships through how they react to each other, both vocally and physically. The scripts are in the way, but the actors can’t do without them. Improvs haven’t been working (even basic ones based on each character’s main intention in the scene). Any suggestions? — David Schimpf Marian College, Fond du Lac, WI Spring Production: The Crucible He was a cruel man, but fair.

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:    Lines should always be down one week into rehersal at the latest. : Some actors want their lines before rehersal even begins but others feel : they are more spontainious if they wait. But one week should be it. p :                                                                               TG One approach that doesn’t work:  put off memorizing until the last moment because you don’t have time, have a mental block, or would prefer to learn through the rehearsal process. Another approach that doesn’t work:  Work hard the first week, get off book, relax and cruise through rehearsals. What works for me: work hard in the beginning, keep working hard in the middle, work hard at the end.  Study lines, study script, study character; always all of them.

Response:

   Lines should always be down one week into rehersal at the latest. Some actors want their lines before rehersal even begins but others feel they are more spontainious if they wait. But one week should be it.                                                                               TG

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You should be begin rehearsals at the "very familiar" stage of memorization.  Be on book for the first blocking rehearsal of each scene. Then have the book out of your hand.  Call for line if needed, but you can’t work on a scene AT ALL until you don’t have to think about lines. If you’re holding a book, you’re not working on the scene!  If you’re struggling for a line, you’re not working on the scene. OFF BOOK AFTER FIRST BLOCKING REHEARSAL (BUT GO SCENE BY SCENE) Break a leg all (PS: I am a professional actor working in LA.  No day job)

Response:

. – Hide quoted text — Show quoted text – I have been following this thread with interest and carefully refraining from butting in, but this one is really too much!  Mr (or Ms) skunk is in some sort of dream world.  In the real world with short rehearsal periods you had damn well better have the lines down before you start.  Yes it is harder this way but no you do not have to develop detailed character aspects while simply learning the lines.  I’ve been through all the excuses (I mean I’ve used them) "I need to learn the lines as I develop the character during rehearsals"  I can’t learn the lines until I have my blocking" And now I freely confess it’s all BS!  When I put dropped into the position of learning the lines before rehearsals started I bitched and moaned, but I managed it (more or less)..but it was tough.  But the next time it was easer.  So anyone who says they can’t learn lines till rehearsals start is being lazy.  If you want to indulge them then that’s your choice.  If you have a long enough rehearsalperiod then fine.  But going that route, then half-way through the rehearsal period is the ABSOLUTELY LAST time for books to be used.  As so many have said, you can’t work at the job of acting and all it entails with a script in your hand.  And never cast those people who tell you "I’ll be fine on the night"  Not learning lines until the last minute cripples the rehearsal process and is rude and inconsiderate to both the director and fellow actors.  Actually it is also a dead give-away about what kind of a performance you’ll get.  The last-minute learners have no consideration for the other actors-they’re self obsessed and their performances show it. They are developing their character in isolation and theyfrequently don’t listen to what the other charadcters are saying. All right…I’ve stamped around the room enough and aired one of my pet peeves. Angus Hepburn Peekskill Rep

I do agree with what you have to say here, Angus.  It is inconsiderate to the  other actors and the director to be unprepared for rehearsals.  And like yourself, I too have worked in the professional theater, and in television and film.  Rehearsal processes are remarkably short.  I also agree with you that an actor cannot begin to "work at the job of acting and all it entails with a script in (his or her) hand".  However, I find that learning the lines just to have the lines down can stall any sort of true exploration.  I think you have to ask yourself if you are legitametly working or procrastinating.  If you are legitmately working, I feel you will learn the lines as quickly as those who spend hours just commiting text to memory.  But rather than emerging with just words, you have much more information. Lines can become a crutch in their own unique way.  Of course, this is just my approach.  Until recently I would come to the first rehearsal close to being off book.  One director I worked with requested that we (the cast) not sit down to learn lines, but instead use that time to dissect the script, find objectives, motivations, given circumstances, and so forth.  I have never been in a production in which the actors were as connected, as in the moment, and as conscious of others as in this experience.  Incidently, we were all off book within the first week of the rehearsal process. Maybe what I am suggesting here is a better way for actors to work on text as opposed to a rehearsal scheduele. However I do believe a director needs to have an understanding of the way in which an actor is working.  There obviously are as many successful methods as there are actors and directors.  I think the concept of the "lazy" actor, who tells the director "wait till opening night", is something entirely different.  I find that the true "lazy actor" is the actor that thinks that the learning of text, is both the begining and the end of the rehearsal process.  I’d much rather work with an actor that knows exactly why they are saying their lines, then the actor who has only the lines.  I certainly don’t think that one is exclusive of the other; you obviously need to know both.  I guess this really comes down to a question of your own personal work ethic.  Are you procrastinating, hiding, or being lazy, or are you doggedly approaching your text and work?  You are right, last minute learners don’t have "consideration" for others and are often "Self-obsessed", but I don’t think the method I espouse qualifies as "late learning".  Often these actors are doing the most work, and are constructing a true foundation as opposed to the artifice of a character.  Thanks.

Response:

 The last-minute learners have no consideration for the other actors-they’re self obsessed and their performances show it. They are developing their character in isolation and they frequently don’t listen to what the other characters are saying.

I am so glad that pragmatism has shown itself at last.  I too have heard all the excuses – yes, and made a few myself – but why on earth should one have everything done before the hard-work process of learning lines? More often than not the small gesture, the small movement, etc. can be done with the lines firmly fixed as it is the context which gives meaning to all that goes to formulating the character. The larger blocking is dictated by the set and the other characters.  By all means write the moves down in the script if you think it helps.  It is still no excuse for not having learned the lines! — David Lewis

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I agree.  I direct in the high school setting, so my actors are used to deadlines, but I still find myself hoping they’ll begin to feel when it is the right time for the books to vanish.  I certainly don’t want them off book when rehearsals begin, but, as Howard said, once blocking is finished and we’ve done some serious character discussion, the scripts simply must get out of their hands.  Otherwise, it’s almost impossible for me to take them any further with character development.  I mean, Romeo can’t be climbing that balcony the way he needs to if he has a script in one hand, you know?! Jeannette Bonjour

I really liked the way we did several shows in college.  We had our rehearsal schedule set up to work certain scenes on certain days.  We were expected to have those scenes memorized when we showed up.  We then worked those scenes, with the freedom of no scripts from the beginning, and it wasn’t too difficult.  This was even Shakespeare (Macbeth).  I’m planning on using this system on the next show I direct. —               |http://198.106.64.22        |

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I am wondering at how soon other people require their actors to memorize the the lines.

The longest I ever took to memorize lines was for a performance of CYRANO DE BERGERAC, in which I played Cyrano. This process was greatly complicated because the director and assistant director were attempting to rewrite the script and so I had to keep holding back on learning lines until we had gone over the line changes… which just never seemed to happen. Pain in the butt. That aside, I prefer to have my lines learned within four weeks of casting at the maximum — or 1/2 the total rehearsal time period, whichever is quicker. (so for a three year rehearsal period I would have four weeks, for six weeks of rehearsal I would have them memorized within three weeks) Also, generally give your leads more time to learn their lines than the non-leads because, obviously, they have more lines to memorize and it doesn’t help their performance if they have to have constant stress over their lines. Justin Bacon

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This is interesting, from my standpoint  as an actor.  I used tobe sort of a "slow study", until I realized that I learn be HEARING my lines.  So I started speaking them, while memorizing in private.  This seemed to help. As far as time is concerned, it seems that folks will take about as long as you give them.  I’m in a show now that will open after three and a half weeks of rehersal.  My lines are down. I have a week to go till opening.  I don’t have a huge part 50-60 chunks of lines or so…I never counted.  I fellow actor and I were talking about this the other eve. and we came to the agreement that if we had two months to go, then we’d still have scripts in our hands.   It’s true that not a huge amount of "creative" stuff happens with a book on your hands, so the sooner the better.  But as a teacher (high school) I can tell you that there are legitimat learning ’styles’ and some may not be as fast as others.  Some are lucky enough to figure out what works for them and stick with it. Pete in Seattle

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I am wondering at how soon other people require their actors to memorize the the lines. I usually work at a leisurely pace (of course, I am in school!) with my actors, allowing a very long time for them to memorize the lines. But it seems more and more young people are pretty quick at accomplishing this now. So I would like to know how other people demand… quick or slow…pros and cons… *Don’t hit reply as it will send out private messages. Let the discussion commence……:)

I started acting when I was 13 years old, im 27 now, and I’ve had nightmares about memorizing lines…usually the dream has something to do with going out on stage on opening night and forgetting ALL my lines…(along with everyone elses too). Something about memorizing has me petrified lately.  I think you can memorize lines in as little time as you say you can…just keep the flow of the context of the scene a priority, then the lines coemt to you (If you studied at least a little).   Every director/stage manager is different.  You just have to have your own pace, and make sure it’s quicker than the majority of the director/stage managers that you work for. Break a leg! – Kevin Michael O’Connell (Kal-el of Krypton) Internet Communications of America, Inc.

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: I am wondering at how soon other people require their actors to memorize the : the lines. : : Pro actors learn lines as soon as cast.  If they don’t, they don’t work! : From a director’s viewpoint, and purely in the amateur field, I don’t : care when an actor learns the lines.  The only person to look foolish is : the actor concerned. It depends.  For film and tv, the is very little rehearsal time.  You come to the set knowing every syllable memorized. For theatre, you have more rehearsal time.  I will not try to memorize until the show has been finished blocking.  Until the blocking is set, I will keep a pencil on my ear and my book in hand. This is especially important if you are working on a new play and the script is subject to revision. joel

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– Hide quoted text — Show quoted text – I am wondering at how soon other people require their actors to memorize the the lines. Pro actors learn lines as soon as cast.  If they don’t, they don’t work! David: Only in TV and Film land!  Pro actors need to learn as they integrate blocking, props and other members of the cast.  There are some exceptions (long monologues, soliloquies, etc.) but as a rule I prefer, as I stated, not to have to deal with learned patterns and meanings from day 1. Howard

I second that motion. Most professional directors in my experience would prefer that you not come in to the first rehearsal with all lines memorized. (There are excpetions of course, one-week stock, Dinner Theatres with absurdly short rehearsal periods, and all that). Too often, there is a tendency to learn LINE READINGS as well as lines, and particularly with amateurs, that can be really difficult to erase. Generally, I see most directors wanting the actor to keep the book and play with interpretations until the scene is blocked – and by the next time the scene is rehearsed, they should have the lines learned, ready for the next phase. This allows you to tie blocking, lines, and intentions together. Not having to rack their brains for lines can free an actor be a bit more creative. In fact, there is usually a slump in the forward progress of the show when the cast first gets off book, as they forget about anything but remembering lines. Then, (usually), as the lines come easier, they get back to work. So, short form, keep the books through rough blocking. I worry about all these posts from directors saying that they can’t get any work done until the actors are off book. In the early going, roughing out blocking and working with the actor on character choices, the script can be very helpful. (For one thing, it’s a handy place to write your blocking down!) June

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: I am wondering at how soon other people require their actors to memorize the : the lines. : It depends.  For film and tv, the is very little rehearsal time.  You come to the set knowing every syllable memorized.

So many of the takes in film and TV are short, so that lines can be memorized and committed to short term memory practically day by day.   Memorization really isn’t much of an issue in film unless there is a dialog intensive scene or a stunt that can’t be repeated.  And of course there is always looping if necessary.  Memorization in theatre is a different issue.

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I don’t feel you can really begin the creative process until you have the book out of your hands.

Amen to that! As a director, one of the most frustrating things is actors that slow down the process by nursing the book. As an actor, it is equally frustrating to be creating your character while another actor has his nose in the book. Perhaps, however, the discussion shouldn’t be how fast are the lines memorized, but when should the lines be understood? We all know that rehearsal is not just blocking and speaking. Responsible directors will take out time the first weeks, having several slow read throughs if nessisary, to make sure their concepts about the play and the plot are known, and to discuss ideas about the message the performance should give. From there, I believe, the lines will come easily, the blocking will lend itself to logic and reason, and memorization will become a non-issue. Then again, this is the real world and I know that it never seems to go that way all the time. But it should.                http://village.ios.com/~kassj "Here I am, feeling like a f*cking fool"–Billy Joel, Laura     From The Nylon Curtain "That’s my opinion… I could be wrong"–Dennis Miller   Have You Checked out http://www5.ios.com/~stageweb Yet?

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I usually work at a leisurely pace (of course, I am in school!) with my actors, allowing a very long time for them to memorize the lines. But it seems more and more young people are pretty quick at accomplishing this now.

I direct on the community theatre and professional theatre level.  A non musical usually requires approx. 30 rehearsals.  I demand that my performers are off book at the halfway point.  I don’t feel you can really begin the creative process until you have the book out of your hands. Errol, Chicago

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I am wondering at how soon other people require their actors to memorize the the lines. Pro actors learn lines as soon as cast.  If they don’t, they don’t work!

David: Only in TV and Film land!  Pro actors need to learn as they integrate blocking, props and other members of the cast.  There are some exceptions (long monologues, soliloquies, etc.) but as a rule I prefer, as I stated, not to have to deal with learned patterns and meanings from day 1. Howard

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I am wondering at how soon other people require their actors to memorize the the lines. I usually work at a leisurely pace (of course, I am in school!) with my actors, allowing a very long time for them to memorize the lines. But it seems more and more young people are pretty quick at accomplishing this now. So I would like to know how other people demand… quick or slow…pros and cons… *Don’t hit reply as it will send out private messages. Let the discussion commence……:)

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: : I am wondering at how soon other people require their actors to memorize the : the lines. : : : It depends on the length of the rehearsal period.  I, for one, prefer : not to come into rehearsal with lines learned.  I find that patterns : become harder to change.  Also, I find that listening suffers as : the actor concentrates on the words, not what is going on around : him/her. I agree.  I direct in the high school setting, so my actors are used to deadlines, but I still find myself hoping they’ll begin to feel when it is the right time for the books to vanish.  I certainly don’t want them off book when rehearsals begin, but, as Howard said, once blocking is finished and we’ve done some serious character discussion, the scripts simply must get out of their hands.  Otherwise, it’s almost impossible for me to take them any further with character development.  I mean, Romeo can’t be climbing that balcony the way he needs to if he has a script in one hand, you know?! Jeannette Bonjour

Response:

I am wondering at how soon other people require their actors to memorize the the lines. I usually work at a leisurely pace (of course, I am in school!) with my actors, allowing a very long time for them to memorize the lines. But it seems more and more young people are pretty quick at accomplishing this now. So I would like to know how other people demand… quick or slow…pros and cons… *Don’t hit reply as it will send out private messages. Let the discussion commence……:)

I insist on memory at about 60% through the rehearsal period on the basis that.’nothing that is artistically significant can happen until the lines are memorized’.  Hope that helps. Gary

Response:

I am wondering at how soon other people require their actors to memorize the the lines. I usually work at a leisurely pace (of course, I am in school!) with my actors, allowing a very long time for them to memorize the lines. But it seems more and more young people are pretty quick at accomplishing this now. So I would like to know how other people demand… quick or slow…pros and cons… *Don’t hit reply as it will send out private messages. Let the discussion commence……:)

I think it is important for actors to get the sense of the work, the meaning and emotional nuances before they get a scene word perfect. Too much emphasis on the words rather than the dynamics of the piece result, in my mind, in wooden performances where lines are obviously "delivered." TD

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I am wondering at how soon other people require their actors to memorize the the lines.

It depends on the length of the rehearsal period.  I, for one, prefer not to come into rehearsal with lines learned.  I find that patterns become harder to change.  Also, I find that listening suffers as the actor concentrates on the words, not what is going on around him/her. I prefer not to have to give a deadline, but once the blocking process is finished, I expect to see the script dissapear in stages as we rehearse.  Given adequate rehearsal and repetition, memorizing shouldn’t be an issue.  OK.  Now when faced with a problem, where one actor is holding up the others by not knowing the words, I would ask that scripts be out of hand at 1/2 to 2/3 of the process.  That would be in a two to four week schedule.  We rarely get more time due to budget restraints, but that is another issue.   Hope my .02 is useful. Howard

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I am wondering at how soon other people require their actors to memorize the the lines.

Pro actors learn lines as soon as cast.  If they don’t, they don’t work! From a director’s viewpoint, and purely in the amateur field, I don’t care when an actor learns the lines.  The only person to look foolish is the actor concerned. However, I will not have *my* time wasted by an actor who really makes very little effort at learning away from rehearsal.  I recently ran a rehearsal for a director who was away and, despite that director having requested the cast learn its lines by a certain time it was very obvious that only a half-hearted attempt had been made.  At the end of the first act I suggested to the company of 5 that, whilst I would carry on with the rehearsal, "Is there really a great deal of point?"  The company agreed to spend the rest of its time line learning.  I was able to leave with a clear conscience whilst they did what they should have been doing away from the rehearsal room. — David Lewis

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