Learning Lines

First of all, notice that this page is called "LEARNING LINES" -- not "memorizing lines." There is a HUGE difference.  Also, keep in mind that your main objective as an actor is not to "get off book," it is to portray your character in the best way possible.  That is only possible if you learn your lines EARLY so you can better concentrate on characterization, reacting to your partner, blocking, focus, etc.

You memorize your math times tables or the periodic table. Those are pure facts, they never change. However, the process of learning lines is very different in that the nature of acting is REACTING. Your lines are delivered in a way that compliments the line reading of your partner(s). Your fellow cast member will rarely say their lines in exactly the same way (volume, inflection, etc.) and you must adapt your delivery to complement theirs. That is ACTING.

While we're on the subject-- beware the actor who doesn't think s/he needs a lot of rehearsal. It's not only about them!  Rehearsal time is how actors learn to react to EACH OTHER and in that way, they fine tune their own acting choices. The exploration that takes place during rehearsals is crucial to your play's performance. An under-rehearsed performance is actually just an improvisation piece. The actors are basically only reacting-- they're not really ACTING.

Tricks for Leaning Lines

BASICS. Read the script. As soon as you are cast, read the script and highlight your lines (assuming you are allowed to mark in the script). Don't worry about trying to "learn your lines" yet-- just read and learn the story.  The first week, read the whole script twice per day. The second week, read only the scenes your character is in five times per day (read the whole scene-- not just your lines). The third week, read just your lines, and your cue lines (the line right before your line)ten times per day. By now, you will be surprised how easy it will be to get "off book."  You'll know the story, the characters, and how your character fits in the grand scheme of things.  The rest is just telling the story.

LOOPING. This is a visualization exercise that helps reinforce your line work after blocking has taken place. Sit in a chair and close your eyes. Visualize the rehearsal/performance environment. Now go through your scenes, seeing the stage, your fellow actors, etc. in your mind's eye, delivering your lines in your imagination. It's best if you can say your lines aloud as you visualize what your mind's eye is seeing as you deliver the lines. This helps reinforce not only your lines, but your blocking as well. It's surprising what you can work through in your imagination.

ALOUD. Always practice your lines aloud. Your body relies on sense-memory. You remember how the words feel to your mouth and tongue as you say them. You remember how your breath support affects your volume and intensity of your delivery. That memory is very helpful in helping you remember your lines-- and is only developed by practicing aloud.

RECORDING. Record yourself saying your lines. Don't record your cue lines-- just your own lines. Don't record your "acting" (special inflection, etc.) -- just record you lines, almost in monotone, with a relatively brisk tempo (don't rush, but get your lines out). Now, put that recording on a device (MP3 player, CD player, etc.) and listen to it with headphones whenever you can. Repeat your lines aloud along with the recording. It may look silly to bystanders, so you may need to find a secluded place or learn to mouth the words in a way that still helps with sense-memory. This is a great addition to your Looping exercise. You can also listen to your recording as you actually go through your blocking on stage. I often stayed after reahearsal to use the stage with my headphones on.

WEAN. Get off-book as soon as possible. There comes a point where the script in your hand is just a crutch that prevents you from fully exploring your character. Call for lines, let the Stage Manager help you if you get stuck-- the important thing is that you get the book out of your hands as soon as possible. Only then can you gesticulate, only then can you truly ACT.  And don't wait until the rehearsal schedule TELLS you to be off book-- you be ready before that!

DIFFERENT DIRECTORS. Remember that each director you work with will require a different approach to learning your lines. Some are very laid-back and let each actor work on lines the way they are accustomed to. Some are rather tyrannical in that they have a fit (a literal FIT!) if you aren't off book by the deadline. I've also known a couple that required the actor to be off-book by the first day of rehearsal (Egads!). This all boils down to: find out your director's approach and abide by it-- or don't audition.

Tips for Learning Lines

• WEEK ONE: read full script 2X per day
• WEEK TWO: read just your lines aloud 4X per day (yes, I know that above I tell you to read your scenes the second week, but BTUR is so short, we'll just skip that step)
• Consider your blocking as part of your lines
• ALWAYS work on your lines aloud (Sense-Memory)
• "LOOPING" - As you work on your lines, imagine yourself on the set, doing your blocking, and seeing what you will see as you say the lines
• If you follow these tips from the very beginning, you will know your lines before you know it

[Back to Director's Page]