Skip to main content
2012-2013 Season

Creating a Character

by Ariel Mitchell, dramaturg

One of the hardest things for any actor is creating a character. The actor has to be able to separate themselves and their mannerisms from the mannerisms of the person they are trying to portray. This is especially hard when trying to depict a real person that you have met and interviewed. In order to differentiate yourself from a character the easiest thing to do is to heighten their ticks (fiddling with a necklace, drumming fingers, running a hand through their hair, etc.) and try to match their vocal tone and posture.

Unfortunately, heightening these aspects of a person often come off as comical. Whenever is something is exaggerated, especially by some one who is an inexperienced actor or isn’t very perceptive to body language, it becomes a sort of mockery. That is not what we are striving for in Gone Missing and The Cleverest Thief.

In our production, nine actors will portray over sixty characters in the span of two hours. How will they differentiate themselves from the characters they are playing? How will they distinguish their different characters from each other? Can they accomplish an honest depiction of real people?

When the representative from The Civilians company (group that devised/wrote Gone Missing), Emily Ackerman, workshopped with us she taught us some tricks. The first exercise she introduced involved status, or how a person carries themselves. A person of high status (social rank, energy, or happiness level) carries themselves with good posture and a spring in their step. As the status decreases people tend to carry themselves more curled in on themselves, as if protecting, with slumped shoulders and their gaze on the floor. Emily asked us to walk around the room and she’d say a number from 1 (low) to 10 (high) and we’d have to depict how a person of that status would look. She then asked us who a person of high status would be (we came up with celebrity, royalty, overconfident jock) and who a person of low status would be (we came up with street urchin, abused woman, someone who was depressed). Through this exercise we came up with a range of emotion that we could depict physically. We went through this process for ticks as well.

Finally Emily asked us to create a character with a defined status (from 1-10), distinct way of carrying themselves, and a defined tick (how strong it was 1-10). We then interacted with each other trying to see if we could guess the choices that our classmates made.

See if you can guess who the character is in this video. Who is it? What is their status? How does it reflect their age, gender, and how they feel about themselves? Do you believe that this character is a real person?
   

Related Articles

data-content-type="article"

Games and Activities Inspired by this Fishy, Wishful Tale (Part 2)

July 26, 2022 12:00 AM
The cast has been participating in workshops with Teresa Love, an adjunct professor at BYU who teaches theatre for the elementary classroom, storytelling, and adapts many of the TYA plays performed on the BYU stage. (Fun fact: She wrote the script to BYU's most recent mainstage play, The Selfish Giant.) She is currently helping the cast of The Fisherman and His Wife construct a post-show interactive workshop for 3rd graders. These workshops will take place after the students have seen the show performed at their elementary school. In the images below, the cast and stage manager collaborate to first establish, then create frozen images of the play's themes: CONTENTMENT, POSSIBILITIES, DESIRE, UNSATISFIED, REVERSED, HAPPY. Overall Message: BE CAREFUL WHAT YOU FISH FOR! Can you see any of these themes or messages represented in the poses below? MORE WORKSHOP PICTURES TO COME!
overrideBackgroundColorOrImage= overrideTextColor= promoTextAlignment= overrideCardHideSection= overrideCardHideByline= overrideCardHideDescription= overridebuttonBgColor= overrideButtonText= promoTextAlignment=
data-content-type="article"

Design Inspiration

July 26, 2022 12:00 AM
by Amelia Johnson, Dramaturg Creating a show is a process. Though the run of the show is over, there was a lot more that went into the show than what was seen in those few weeks. Months before the run, the production team began meetings. They discussed the director’s vision for the show and began planning designs. Everything was approved of and discussed before lights were set, sets, were built, and the costume and makeup designs were implemented. This year, the costume and makeup designers drew inspiration from the local artist, James Christensen. Having passed away earlier this year, director Dallyn Bayles thought it would be nice to pay tribute to him in this way. Costume designer Dennis Wright was thrilled to base his designs of Christensen's style. He said, “What I really love about Christensen’s work is the whimsy that he incorporates into his characters. His distinctive use of patterns, layers and silhouette is really fun and distinctive. I wanted to be sure to capture that in the costume designs for this production. “I love this show, and the concept and design choices our team has made. I am excited to share it with our audience. As a big James Christensen fan, my one regret is that I didn’t actually get to meet the artist in person. I just returned to Utah last year and sadly, missed my chance. I am very grateful to be able to pay tribute to him in this small way”. Makeup and hair designer Sarah Bult also shared some of her thoughts. “After reading the script I looked through as many James Christensen paintings as I could find. I picked out textures, colors, broke it all down and paired certain characters with those elements. His artwork influenced everything from the shape and colors of hair down to the detail on the bead work of the hairpins. I loved that I could draw my inspiration from his work and create something that really embodied his artwork." Bult continued, “One thing I didn’t expect to be a challenge was that not many Christensen pieces have hair showing. This created a very unique and fun challenge for me. I had to look many different paintings, combine textures and colors, and use my own design style to come up with fun fairy tale hair and makeup styles that were reminiscent of Christensen’s artwork. I am very excited to see how all of the elements come together”. Join us on the 4th Wall next time to learn more about what goes on behind the scenes!
overrideBackgroundColorOrImage= overrideTextColor= promoTextAlignment= overrideCardHideSection= overrideCardHideByline= overrideCardHideDescription= overridebuttonBgColor= overrideButtonText= promoTextAlignment=
data-content-type="article"

Until Next Time, Microburst

July 26, 2022 12:00 AM
by Holly Mancuso, dramaturg After a successful run, Microburst Theatre Festival has wrapped up for this year. If you missed it, make sure you join us next year for a fresh round of new plays written by students. As part of the show we created boards for the lobby highlighting each of the shows. Different drafts showed how much these plays have changed since the first drafts, which was fun for audiences to see. [caption id="attachment_3667" align="aligncenter" width="3264"] The Microburst lobby display[/caption] As part of this process, the production team has grappled with the question: "Why new plays?" This is a fair concern, since many people don't feel comfortable seeing something with which they aren't familiar. It's also easier to be drawn in by a known name
overrideBackgroundColorOrImage= overrideTextColor= promoTextAlignment= overrideCardHideSection= overrideCardHideByline= overrideCardHideDescription= overridebuttonBgColor= overrideButtonText= promoTextAlignment=