Scripts for Young Performers
How to make sure that the young actors get the most out of the acting experience
I've come a long way in my understanding of how to write plays children not only can perform within their skill levels, but also how to make it an enjoyable experience.
Having just finished the 10th production of a theater tradition I started at my childrens' school, I realize that I understand things much differently than I had before.
First off, here are some observations about these young actors (elementary through high school):
- They are easily distracted, frequently forgetful, and occasionally rude. Attention spans may be very short. Scripts and pencils may not always be present at rehearsal. Continually talking to friends during rehearsals will occur.
- Their understanding of theatrical basics is limited. Facing the audience, gesturing with the upstage hands, and writing down and remembering blocking have to be reinforced repeatedly.
- Although you know they can be loud otherwise, when they're on stage they will talk softly. Projection tends to be forgotten when the actors are desperately trying to remember their lines and blocking.
- Memorization, while it can be done quickly, generally may be delayed until it is time to panic. Some tend to believe that it can be accomplished during rehearsal. It takes experience to really understand that the secret to memorization is hard work, dedicated time, and taking one line at a time.
This certainly isn't to say they are bad. These are merely observations that have occurred over and again during these productions. They are the childrens' playing rules, so they just have to be acknowledged and worked with, rather than resisted.
With these in mind, I formulated the following framework for the scripts I write for these actors.
- Maximum 30 to 50 lines per character, even though many children will tell me that they can learn much larger parts. That's partially true. In my recent production, one 7th grader had more than 200 lines, while another 7th grader had about 30. Both struggled to learn all the lines, but both also managed to perform adequately. The bottom line for me is that with fewer lines, the young actors can focus more on the other aspects of blocking, emotions, and projection.
- 20 to 30 characters. This accomplishes a number of things. First, it ensures a sizeable audience of all the friends and relatives. Second, it gives all the actors a chance. Many times I'll have a handful of parts with the 30 to 50 lines, and then have the remaining parts with 1 to 30 lines. Some children are perfectly content with 10 lines.
- Children are most comfortable playing themselves; plays about children will give them the best opportunity to shine as actors. Fairy tales and animal stories are good, too, as children are familiar with those types of characters. It seems the most difficult roles for children to play are adults.
