Character Analysis References

I've found that character development and analysis in acting, is very similar to writing. Here are some links (made for writers primarily) that can truly help you delve into your characters mind and portray them accurately!

Seven Common Character Types

Description of 16 Personality Types

Character Flaws (just remember to not rely on adjectives to describe a character, CHARACTER not CARICATURE)

Character Archetypes

Body Language Cheat Sheet

Character Morality (great for the part of character analysis where you decide what part your character contributes to the play as a whole)

Character Questionnaire

Break a Leg,
Maison

Headshots 101

Since I am completely uneducated about the world of headshots, I figured that Headshots 101 would be a good workshop to take. Here's a summary of the class:

• It must be 8x10 photo. (common knowledge)
• The picture should show at least from shoulders and above, but it is acceptable to cut off the crown of the head to pull focus to your eyes.
• Horizontal headshots are acceptable, but inconvenient to be stapled and flipped through, therefore not suggested.
• Black and white headshots are out as color printing is much more affordable now.
• For the stage, only 2 shots are needed: one for comedy and one for tragedy acting. For film and television, an array of different shots will be needed to show different sides of you and what you can play.
• For a dramatic headshot, you don't have to put on a dramatic frown. You could have a smirk, just make sure you have thought behind your eyes. To achieve this, have a thought in character while shooting.
• Have a blurred background that gives an idea of who you are. If you are a student, show something that hints at a school or library- just make sure it does not take away from the main point of the headshot- YOU!
• Do not wear solid black, white, or red because this messes with the balance of the camera. Wear something that goes well with your hair, eyes, and skin tone.

Finding your photographer:

• Preferably, they should be a Headshot Photographer. If you go to someone who does school portraits, that is what you will get even though that is not what you want. The next best thing is a senior picture photographer, as that world is getting more artsy as well as the headshot world.
• Pricing should typically be between $200-500 dollars for FULL PACKAGE. Some big names could charge more, but not be worth more. FULL PACKAGE means that it includes the consultation, shoot, initial photos, and most importantly- printing rights. If a photographer doesn't give you the rights to your photo so that you can print it yourself, then every single time you want to make a print you have to do it through that company which can turn out to be very expensive.
• Get someone you are comfortable with! If you are going to spend hours taking pictures with someone you are not comfortable with, it will show through on the photo.

I have one more post left in my ITS Workshop series and then I'll be on to the Seussification of Romeo and Juliet!

Break A Leg,

Maison

International Thespian Society Festival

It's almost time for me and my troupe to compete at Nationals for ITS! Since I'm mainly there for the experience, I will be taking as many workshops as possible and I hope to share what I've learned each day with all of you, and maybe some pictures as well. It makes me nervous that our Group Musical only has a couple of rehearsals left, though.

But I'm excited!

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

 

If you are wanting a look into the amazing and exciting world of show business, you are in the wrong place. But if you are looking for some advice on the details of auditions, monologues, casting, etc., in your community or school, hopefully I can give you some insight. In the next few days, I will start with some substantial posting, but here is a little ramble about me.

• I am competing at the International Thespian Society national convention at the end of the month in Troupe #88975. (as a very ironically casted Horton, considering I'm a vertically challenged girl.)
• I was recently inducted into Troupe #6605, and I'm pretty freaking excited.
• I'm currently rehearsing for a little community theatre show called, The Seussification of Romeo and Juliet, as Narrator #1, just because the director is amazing and I want her to know me.

I would lovelovelove it if you would follow, because I will be posting soon!