As actors, our vocation is to interpret an author’s work for an audience. To do this, we must use our bodies as instruments, as well as our understanding of the character to shade and color the way we “play” that instrument. The following outlines practical techniques for making the most of the children’s time onstage.
Blocking the Production
A primary part of the director’s job is to oversee movement and flow on the stage; that is, to direct each actor to where they are to be and how they should move as they deliver their lines. This is known as “blocking” the production. With children, it is especially important to explain the reasoning behind the direction and to have them be a part of it.
The Actors’ Angles
Always stress relaxation and natural movements in the stage directions. As the children become more comfortable with their lines and blocking (and they will!), teach them the “actors’ angles.” This is our term for explaining how a performer should position themselves onstage as they speak their lines. The children should be taught to place their feet at a 90-degree angle to each other. (For example: If facing stage right, the left foot should be straight towards the audience with the right foot facing stage right at a 90-degree angle to the left foot. If facing stage left, the right foot should be straight towards the audience with the left foot facing stage left at a 90-degree angle to the right foot.) Remind the students to never face too far towards stage left or stage right. In this way, the child’s body is always open to the audience, guaranteeing that the lines will be delivered without the child standing unnaturally or facing the audience directly as if reciting a speech.
Soon, with practice and familiarity, the “actors’ angles” and the positioning of the feet all become very smooth and natural. It is the structure and discipline of theatre that enables the child to feel comfortable and in control on the stage. As they mature into more experienced actors, all of their movements will become less stylized, even as their awareness of basic acting techniques will remain with them.
For more information on developing confidence in body movements, see the “Theatre Games” document. This outlines fun exercises that will help children gain self-assurance and sensitivity to the actions of their fellow performers.
Spoken Music: Using Your Voice as an Instrument
Refining the children’s body movements onstage goes hand-in-hand with voice lessons. As they learn to be comfortable with their bodies, to move gracefully and effectively on the stage, they should also learn how to use their voices to tell the story of the play. As George Bernard Shaw observed in one of his critical essays on Shakespeare, even if an actor is unfamiliar with the works of the Bard, all they have to do is tune into the rhythm of the phrase – “the turn of the line” – and the soul of the piece will be there. The words of William Shakespeare are indeed “spoken music.”
So how to make sure that that music is heard? As your young actors work through the play during rehearsals, teach them to speak with a natural attitude as though they were talking to a friend, while being sure to enunciate properly. Explain to the children the importance of projection, or speaking clearly and loudly enough for the lines to be heard in the last row of the audience – without shouting! Emphasise the significance of giving each word its value, as you would give each note its value if you were playing an instrument.
It is also important not to speak too quickly. Remember, your audience may not be that familiar with the words of the Bard. Be prepared to remind your students as often as necessary never to speak their lines with their backs to the audience, but to always face forward with their heads up.
Never let the energy level fall. I would always call out “pick it up,” and my actors would know to pick up the pace – never too fast, but simply in tune with the rhythm of the piece.