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6
Troubleshooting
This section is a series of questions and answers about problems
that may occur while you are working on scenes. This is intended
to serve as a guideline. Because scene analysis is a highly personal
process, the as-if’s have been excluded from the sample analyses
when they were not the cause of the acting problem. If an analysis
choice is not good for a speci c person or scene, the results of the
mistake will become obvious in rehearsal. Examples of these cases
are among those illustrated in this chapter. You will also nd ways
to correct your own problems during the rehearsal process.
The problems listed in this section are in reference to act 1,
scene 2 from Two Gentlemen of Verona.
JULIA
: But say, Lucetta, now we are alone, Wouldst thou then
counsel me to fall in love?
LUCETTA
: Ay, madam; so you stumble not unheedfully.
JULIA
: Of all the fair resort of gentlemen
That every day with parle encounter me,
In thy opinion which is worthiest love?
LUCETTA
: Please you, repeat their names; I’ll show my mind
According to my shallow simple skill.
JULIA
: What think’st thou of the fair Sir Eglamour?
LUCETTA
: As of a knight well-spoken, neat and ne;
But, were I you, he never should be mine.
JULIA
: What think’st thou of the rich Mercatio?
LUCETTA
: Well of his wealth; but of himself, so so.
Q. I’m playing Julia. My action is a strong one, but I’m totally out
of whack with the scene. What went wrong?
This is my analysis:
1. The character is questioning Lucetta.
2. The action is making a liar admit the truth.
3. It’s as if …
A. You were not speci c enough in your rst step. Julia was not
simply questioning Lucetta but was asking for advice on her love
life. A poor analysis in the rst step led to your choosing an action
incorrect for the scene, resulting in your problem.
Q. I’m playing Lucetta and am overcome with boredom during the
scene. Why does this happen?
This is my analysis:
1. The character is giving Julia advice on her love life.
2. The action is giving a gift to a loved one.
3. It’s as if …
A. Your action is too passive—a gift can be given with a single
line. It is an errand; once you have given it, you have nothing else
to do for the rest of the scene. That is why you feel so bored.
Perhaps you should try convincing a loved one to accept a gift, an
action you can always actively do.
Q. I’m playing Julia and am overwhelmed with emotion during the
scene. Why does this happen?
This is my analysis:
1. The character is asking Lucetta for advice on her love life.
2. The action is nding the answer to an important question.
3. It’s as if I were asking my mother (who actually had a stroke
yesterday) how long she had left to live.
A. The problem lies in your as-if, which is too personal. You are
unable to deal with the emotions it arouses in you. Also, it is out of
adjustment with the spirit of the scene. This is a lighthearted scene,
but your as-if is very serious.
Q. I get caught in the same readings of lines. Why?
This is my analysis:
1. The character is asking Lucetta for advice on her love life.
2. The action is asking for help.
3. It’s as if …
A. The action is too close to your statement of what the character
is literally doing. As a result, your action is too general. If your
action is in general, then you will act in general. You will slip into
line readings in order to try to make the performance work. A
possible better action is getting the lowdown from an expert.
Sometimes the problem with line readings will occur even if the
analysis is correct. Perhaps you learned the lines with the
in ections in them. Or maybe a great moment happened in one
rehearsal and you continue to repeat your lines in the same
manner in hopes of re-creating that moment. Truly spontaneous
moments can never be re-created. Learn your lines by rote and
always have your attention on the other person.
Q. I’m always getting mad at myself during performances when I
don’t feel I’m acting well enough. Sometimes I even lose track of
the scene. What should I do?
A. Don’t try to conquer the self-consciousness that inevitably occurs
while acting. This is a di cult if not impossible task. Instead, pick
an action more interesting to you than worrying about your own
performance and use your will to execute it, regardless of how you
feel.
Q. My director tells me that I’m faking emotions. Why does this
happen?
This is my analysis:
1. The character is asking Lucetta for advice on her love life.
2. The action is nding the answer to an important question.
3. It’s as if I were asking my friend Flicka which guy she thinks I
should go out with.
A. Your as-if is an exact replica of the circumstances of the play.
All you have done is substituted Flicka for Lucetta. This forces you
into trying to believe the events of the play, which makes you “play
the scene.”
Q. I’m playing Julia and the director tells me that I’m not excited
enough during the scene.
This is my analysis:
1. The character is asking Lucetta for advice on her love life.
2. The action is nding the answer to an important question.
3. It’s as if someone stole my new Rolling Stones record and my
friend Evangeline knows who it was, and I just want her to
tell me who did it.
A. Although it seems appropriate to the rest of the analysis, your
as-if doesn’t mean enough to you. This is made evident by your use
of the word “just.” It’s like saying “only”; whatever the word refers
to is not all that important to you. You don’t really care whether
you get the record back.
Q. I’m playing Julia and I’m coming o much too aggressive for
the part.
This is my analysis:
1. The character is asking Lucetta for advice on her love life.
2. The action is nding the answer to an important question.
3. It’s as if someone on the eld-hockey team has been beating
up my little brother Jordan and I don’t know who it is, but I
am going to yell at the whole team and stop the jerk who is
doing it.
A. Although your as-if means a lot to you, you are not doing the
action you listed in your second step. The main element in your as-
if is to “stop the jerk who is doing it,” not to “ nd the answer to an
important question.” You must do exactly what you said you were
going to do in step 2.
If you are having problems that can’t be xed through xing
your scene analysis, your troubles stem from execution. You need
to practice your execution skills as listed in the next chapter.
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