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How the Theatre Works



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Sun Sep 18, 2016 7:20 am
Lightsong says...



I suck at researching, hence the topic.

My story revolves around Gary and Will, a couple of lovers with the latter being a successful theatre actor. Will's ability to act is described as 'magical' since he doesn't require any practice or script to memorize (this is the fantasy element of this story).

The conflict is that Gary isn't sure who's Will, because he suspects that Will occasionally uses his acting skill to manipulate him, but he isn't sure. Of course, he was proud and intrigued with Will's surreal's acting skill when they first met, but now that their relationship is in jeopardy (Will is seen to be with another outstanding actor, Daniel, quite frequently), he wonders if Will's treating him the same as usual, and has a thing with Daniel.

Alright, so that's the base of the story. My question is: how do theatre works? I've seen a play once, but the experience is not enough for me to understand Will's job, as well as how Gary adapts to it. I specifically wants to ask the routine of an actor, whether there's a chance the producer (or someone with a similar job) is able to make it so that Will and Daniel are the main characters in each play they're involved with, and the challenges of dating a theatre actor.

Hopefully there's someone who's able to answer these questions, and thanks! :D
"Writing, though, belongs first to the writer, and then to the reader, to the world.

The subject is a catalyst, a character, but our responsibility is, has to be, to the work."

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Fri Sep 23, 2016 5:50 am
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Rosendorn says...



Before I start, a note: if a conflict can be resolved with a conversation, it's not strong enough to carry a plot. Not saying yours is that type, but ask yourself that question before determining.

On the same topic of your question but something you haven't asked: not needing a script to memorize is... I'm wondering how that even works, because short of astral projecting to see the script sitting in a drawer, you need something to know the role. There is very rarely if ever any one person who has all the lines memorized other than the actor, even if they wrote it (do you remember every piece of dialogue you've ever written for the same story?)

And, even then, acting is in and of itself a skill. Your magic powers+ result don't match up, because they're not the same at all. If you're looking for the required secondary powers to get both a good actor and not needing any script, you need basically astral projection, mind reading (to get the director's idea of who the character is), empathy (to impact the others around you), and in a sense some glamour to modify yourself to reflect how people see the character. Acting is a lot of different skills and your equation of "memory= amazing" just doesn't add up.

In terms of how theatre works, you have a cast of actors that audition for the roles, and the director picks what actors they think will be best for the role, so yes, it is more than possible for one person to just consistently pick two actors to be leading roles. Whether or not they're both actual leads depends on the play; in the plays I've read, there is one male primary lead, then usually a male supporting role that's still pretty primary.

Usually actors work evenings and weekends, with one play on weekdays and two on weekends. They may or may not tour, depending on the company, which puts them away from home for long stretches at a time. They pull very late nights, and usually have periods before a new play to learn everything. Their work weeks don't always start on Monday.

Hope that gives you a better idea.
A writer is a world trapped in a person— Victor Hugo

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Thu Sep 29, 2016 1:22 pm
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Tenyo says...



Hey Lightsong!

Interesting plot! I think the character dynamics in this could be fascinating.

So... smush about the theatre... Oh gosh where do I start?

Audition.
The director (or directorial team) will send out an advert for an audition, either locally or to an agency depending on how big the production is. Generally an actor will apply to one or two roles and turn up to an audition. If they're good they'll get a callback, when the ones who get through will have further auditions and be compared to find the best one. The roles will then be announced on a board or forum, where the actors will have to check to see if they got the role or not.

Turn up to rehearsals.
Clubs have uniforms, but most of the time actors turn up in loose fitting, culturally modest black clothes and either bare feet or dance shoes. Hair should be tied back. Wearing make-up to rehearsals is reeaally bad etiquette for a number of reasons, mainly because any form of vanity inhibits the actors and is seen as a lack of respect for the work space.
A good actor will usually get there some time in advance- at least half an hour, up to two hours- to warm up and become familiar again with the space. This is really important so that they have a full range of flexibility in their bodies and in their minds, and learn to focus on their work.

During rehearsals.
There is a lot of subtle etiquette to remember. A lot of it is centered around staying focused and promoting good morale, since the theater is an intensive workspace. Water is the only kind of food or drink allowed in the rehearsal space, while there are specific times for food and toilet breaks. Complaining about being tired or hungry is also a big no-no. If a costume is particularly uncomfortable or hard to move in then that issue should be resolved in the changing room- once they're in the rehearsal space they just have to deal with it.
Romantics within the rehearsal space is awful, because it's such an easy way to break the mood and make the actors lose focus. However, general physical contact like hugs, pats, very light toy fighting, are okay because they can help to break tension and foster good relationships.
Spontaneity is a thing to be cautious of, even though it can appear to be cool from an outside perspective it's actually really impractical in the theater. Many directors will be offended if the actors try to compose or contribute their ideas to an overall performance. If there is room for actor contribution the director will carefully guide the actors and leave space open for their own contributions.

Outside of rehearsals
Actors generally continue their physical and vocal exercises consistently outside of rehearsals, aiming to maintain flexibility as well as adjusting to their role. They also eat healthy to stay fit. Maintaining their weight is important, especially for film actors- weight change (loss or gain) means adjusting costumes, changing stunt props, or even the suitability of the actor being cast into a particular role.
Actors in the theater rely on each other heavily, and having to use a stand-in will disrupt the whole process. Because of that there is a heavy dependency on everybody pulling their weight, quite often an actor will have to put their work before their relationships and family commitments.

Producer/director
The producer handles facilities, resources and finances, as well as coming up with the initial ideas and organizing the scripts and things. The director is the creative person who fits everything together and makes it look good. Generally the Director (or directorial team) will be in charge of casting. Many directors have favorite actors or agencies that they like to work with. It would be quite easy to repeatedly put the same actors in the staring roles.

Hope this helps!
Tag me if you have more questions =]
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