My Technique for Getting Into Character

None of these techniques are my own, but I use a simplified version of them. This is what works for me, and feel free to try them! I use them once I get a part and can see it in the context of the play. I suppose it could work before an audition, if you want to find the script and get really in depth with your reading or monologue. I'll also show you with a past monologue I've done, where the character is a brat faking a note.

• First, I assign an action that my character is portraying with every line. A lot of times, when you are trying to go in depth with your character, you would say what your character feels, so that there is more behind what you are saying. But this part is purely what your character is trying to express in that line. Here's an example of what I did with my short monologue.

(to attract attention) Your mother wrote you a note that said, "(to extract pity) Mavis is allergic to plays. (to excite classmates) If she is in one, she'll break out into hives. Her legs will swell to five times their normal size and she'll begin to sneeze uncontrollably. (to show off) Please excuse her."

Now this is out of context, but basically in this show, 15 Reasons Not To Be in a Play, Mavis starts off hating plays and ends up liking plays. Everyone talks directly to the audience, but interacts with the other characters as well. In this monologue she is trying to show her superiority by her ability to pass off a fake note. But we go more in depth about that character in the next step. This technique works with normal dialogue as well.

• Next, I assign a superobjective. A superobjective is what your character is ultimately trying to accomplish through everything they say or do. This part is not as shallow as (to show off) or (to extract pity). When I do this, I usually end up with a couple pages of description leading up to it, because just figuring that out can change the way your character holds itself or speaks.

For Mavis, I was originally just calling her a brat. But then, I figured out her superobjective was to maintain stable power. She wasn't just a brat, she was insecure and afraid of losing power. This was shown through every line. She tried (to attract attention) to get power, and so on. Now this post isn't about my character, so think about it as yours. When you first read your lines, you will get a first impression, but figure out what lies between the lines and how your character feels apart from what they're saying. We lie, and a lot of what we say has an ulterior motive. Your character is a human and will act as such as well. This can also make a dull part come to life. On the page, Mavis is actually becoming ill with plays, but if I said it like that I would literally be reading off a page with no personality whatsoever.

• Then I attach the emotion and character to my life. I believe that when you play a character, it shouldn't be a whole new person, it can be a different part of you that's dominant. Now don't play every character walking and talking as yourself, but find the similarities. And also, if you have to portray a strong emotion such as grief or embarrassment, find it inside of you instead of assigning physical things to do. The physical acting part will come naturally if you can find yourself feeling what your character is feeling. Find a moment in your life that you can remember vividly and attach it to each line you are struggling with relating to. If your character is feeling embarrassed, think through a moment you can play through your head that makes you cringe with embarrassment and remember it every time you say that line. The audience wants to see real, relatable people with emotions on that stage, not someone who simply says, 'Oh, I'm embarrassed.'
• And this is a little thing, but refer to your character as 'I' instead of he/she. It makes a difference!

Break a leg,

Maison