Moving with Intent

Volunteer actors are working for all of the right reasons: their heart is in their work. You got to love ‘em. But, you most often have to help them with stage movement. Intention is the hardest one for them to get.

Let’s say, for giggle and grins, in real life you are having an argument with your spouse. Let’s say that you are the husband, and your spouse is the wife. She asks you one of those questions that you realize you can’t answer without giving up a large part of your dignity, you so choose classic husband move #304, leave the room without answering. But you wife has seen #304 and counters with “where do you think you’re going?” You say “to the garage” over your shoulder as you storm out.

In real life, you don’t wait for your wife to ask you a question before you storm out. You’re stormin’, Norman, because you want out of that room.

On stage, of course, the actor knows the actress is going to stop him with her question. Newbie actors, and I’ve seen it time and time again, most often pause on their way offstage to receive the question. They head toward the door, and then linger if the question doesn’t come. In rehearsal, we go over the spot.

“What are you waiting for?” “For her to say her line.”

Having used classic husband move #304 many times myself, it would be a blessing if my wife couldn’t get the “where do you think you’re going” response before I got out the door. But, she’s quick. So I push my actors to walk right offstage, even though they know the question is coming.

The actor should be feeling the motivation underneath the movement. The character's mad at his wife. He wants out of there ("Run, Luke, run!"). The volunteers need to forget about themselves and see the moment through the eyes of the character. Once the actor adopts the character's energy and angst, you'll see decisive movements that are realistic.

An actor’s movement is much more powerful to the audience that his voice. If you don’t believe me, try singing the Star Spangled Banner while flapping your arms like a chicken. Just the mental image tells you everything you need to know about the power of movement.

So I direct my actors to hit the bricks. Go through that door like you mean it.

The caveat, of course, it to make sure that the actress whose line follows is on top of her cue, so that the actor doesn’t actually make it out the door. I was in Joe Orton’s Loot many years ago, and was slow on my cue. My character had a question to ask the exiting Inspector, but I was just plain caught up in the wrong moment. I looked up to ask my question, and he was gone. I was all by myself, and there was simply no plausible way for the Inspector to come back on. I ran to the door, swung it open, and yelled my question offstage. A moment later, the Inspector returned. “What did you say?...” and we went on from there. Phew!