As the play has progressed, the realisation has dawned on many of the cast. We now have to learn outlines!
This always attracts debate. What's the best way to learn lines? In amateur theatre, this is a whole other predicament compared to professional theatre. In general, professional actors have all the time to learn their lines. That is their job. In amateur theatre however, people have jobs which tend to take up most of their time (pesky things). So how do people in amateur theatre learn lines?
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| Whats my line again? |
In order to get to the bottom of this problem, I questioned members of Codsall Dramatic Society. They all had their prefered ways (as we all do) so here is the first half of a two part blog (oh look at me being all professional) with Top Tips from CDS Members when it comes to learning lines in amateur theatre.
1. A Dictaphone
A tried and tested method, get yourself a trusty dictaphone, and say your lines into it. Then amuse yourself for hours replaying key scenes, trying to get those lines exactly right. This method definetly has a number of pros going for it. The main one being, once the lines are recorded, you can listen to them in the car, while at work, walk the dog and practice your lines. How much more perfect could it get?
As with any method, this does have it's drawbacks. I find listening to dialogue very distracting, more so when you're actually trying to learn some of the dialogue! How can you drive a car while trying to remember what was said two minutes ago. I realise that part of this is about just listening to the scene and engrosing yourself in the character, but that comes to a bigger sticking point. You're not just recording your own part. You need to read ALL the parts. Which can reach particular levels of hilarity when it comes to actually men reading in for women and vice versa.
A good start, can we improve on this. Well, how about the next solution...
2. A Whole Cast Recording
Ah now surely this is ideal for amateur theatre fanatics everywhere! Get the whole cast to sit down and record the script together. Everyone gets the benefit, and you get the whole play to listen to, with everyone reading the right parts! No men reading in for women (unless it's that sort of play, am I right fellas?) and no hilarity of trying to tell who's voice you're immitating this time!
In theory yes this sounds like a great idea! However, the CDS member who remembers using this technique did point out that they did this with a close knitt cast of 3. Which is fine, but most productions have an average cast of about 5, usually more, and it's hard enough getting rehersals on with the whole cast, never mind recording the whole play! You could argue this could be done during the first read through, but people make mistakes in early read throughs, so this isn't ideal. Another great suggestion, but not perfect. We need to dig deeper, maybe get away from recording...
3. Que cards
An old technique from my school days, when you need to learn chunks of information really fast. They're easy to set up (usually) and can be a very effective way of learning your lines. A tried and tested method, so surely it's one of the best?
You'd think that, but no. Que cards are good for short, snappy snippets of information. Like, whats the capital of Botswana (Gaborone in case you were wondering). Scripts aren't short pieces of information. I have it on good authority that they are usually ten pages, maybe more! So sure, que cards could be helpful for speaches, or those little sticking points, but for learning a whol script, there may be better ways.
Till next time...
Like all good writers (and all bad ones) I will leave it there. Maybe next week, I will be able to get to the bottom of finding the best way for people in amateur theatre to learn lines!
Want to get involved in amateur theatre in Wolverhampton and Codsall? Visit Codsall Dramatic Society or like us on Facebook. Come see our next amateur theatre production in Wolverhampton and Codsall, The Memory of Water, by Shelagh Stephenson, 25th-28th September at Codsall Village Hall.











