To start writing a short film, you’ll need to have a solid idea in mind, and the resources/equipment needed to see the project to fruition. Choose your software and writing space, set aside time and have a concrete goal in mind for the script once it is completed. When it comes to actually starting to write your short film, look for the simplest and most direct way of beginning the narrative. After that, take it shot by shot. 

Before we dive in, let’s straighten something out: today’s focus is not how to write, per se, but how to begin the process. We have countless other articles covering the process of writing to completion, which we’ll link out at the bottom of this article. For now, let’s put pencils to pages and fingers to keys…

What You’ll Need to Write a Short Film

Let’s start out by covering what will you need lined up before you start writing. There’s not a lot you’ll need to do—in fact, a lot of would-be writers spend more time preparing to write than actually writing. But a little preparation can ease you nicely into that creative mindset.

Equipment

Laptop or desktop computer goes without saying, so let’s cut straight to the software program you’ll need. A scriptwriting program like industry standard Final Draft is ideal, although free-to-use programs like Celtx or WriterDuet are equally suitable.

The advantage to a dedicated program is its built-in formatting. You won’t need to measure your page or check your margins: everything will be pre-set and perfect. This is important for when you show your work to others in the industry, because if your screenplay isn’t in the proper format, nobody will take you seriously. Great writing or not.

If writing on a computer is less conducive to creativity for you, that’s A-Okay. You’re welcome to write your ideas out longhand, or even with a typewriter if you’re feeling like a fast-talking 1940’s reporter. Just know that you will still need to type everything up before sending it out.

Space

Finding a good space for writing can make all the difference in your personal process. Aim for a space with plenty of room and light, free of distractions and too much foot traffic. This could be a public space, like a café, or a private space like your dining table at home.

Our advice on choosing a writing space is for it to be somewhere you can arrive at for the sole purpose of work. Try not to make it the same area in your house where you unwind, or the same café you like to hang out at with friends. Find a clear demarcation between work/leisure as a writer, and you will train yourself to write simply by being in that designated space.

Time

Make time to write. Set it out in your calendar and spend that time on the business of creating. Sometimes you’ll sit there and be lucky to clock a word an hour. But the time spent at the work is as important as what you produce. Your writing will require your personal respect and conviction: the best way to establish this is to make the time needed to do the task.

Start with an hour every second day, or at least four writing sessions a week. You can bump this up if you like, and change the times to better suit your schedule/preference. (Personal example: my last commissioned play was written over the course of three months, every weekday, from 7am – 9am. After that, I had the whole day ahead of me to work, rest, fold washing and lament the choices made by my characters.)

Goals

Finally, you’re going to find it a lot easier to start writing when you have an end point in mind. Think about what your script is for: are you working towards a production? Is there a competition you’re submitting for? Do you have a particular actor in mind with whom you’d like to work?

Even if there is no concrete goal, set yourself a deadline to work to. You can always move it if you think it’s becoming unreasonable, but a date on your calendar that dictates the end of the process is sure to light a fire under yourself when you’ve yet to start!

Ways To Start Writing

Given that our focus today is starting the actual writing process, we’re going to assume that you’ve already got an idea in mind, and given some thought to the plotting of this idea into a narrative an audience can follow. A good idea might feel like an asset in starting to write a short film, but it can also paralyse you: you don’t want to ‘get it wrong’ and do injustice to the brilliance of your first artistic impulse.

Remember that an idea is useless until it’s written out—and written well.

Location, Location, Location

What’s the first thing the audience will see? Usually, it’s the location where the action takes place. Before any of the story unfolds, take a moment to describe it. Make it feel real, ‘lived-in’, like it’s existed for years before the reader of your script picked up these pages and learned about it. Here’s an example:

INT. BUD’S DINER – NIGHT
Bud’s Diner is empty, save for a lone COOK behind the long, red counter. With his back to the room, he scrubs the filthy fry top, swaying his hips to music from a muffled jukebox.

Applying a little script analysis to this description gives us so much to work with: the few details we have suggest a lot about the state of the diner, its popularity, even a hint of a personality for an unnamed character. If you’re struggling to start writing your short film, focus on the world of the story first.

Start Where It Gets Good

A man wakes up, has a shower, brews some coffee, commutes to work, sells insurance over the phone. After work he has a late lunch, hits the gym, calls his mother and then goes to his favourite bar. In the corner booth of the bar, a strange figure sits watching him. The figure calls him over and hands him something: a picture of the rocking horse he owned as a child…

Notice how that story picked up towards the end there? It was three-quarters diary, blah blah blah … and then suddenly a mysterious figure! A relic from the past! Mystery! Adventure!

How late can you start telling the story in your script before it stops making sense? If it takes two pages for the thing to get interesting, consider cutting the first two pages—especially in a short film, where every second has to be justified. Start where it right where gets good. And you’ll feel the same excitement your audience will.

Focus on the Action

Do you feel the burden of your film’s overarching themes and ideas? The need to truthfully represent, whilst keeping your audience engaged? Are you experiencing the pressure of having to write “The Definitive Guide to [TOPIC]?”

Focus on the action. What’s the first thing that happens? “Sandra wants to be the world’s greatest stand-up comedian.” That might be the plot, that might even be your character’s objective, but it’s not the action. What’s the first thing the audience sees? “A comedy club.” More specific. “Sandra at the mic.” Great! Now answer the most important question in writing: “What happens next?”

INT. COMEDY CLUB – NIGHT
Sandra stands at the mic. She tries to open her mouth but nothing comes out. In the dark, she can see the abstract shapes of audiences shifting uncomfortably. Elsewhere, the sound of a smoker’s cough. She tries to speak again, but only a squeak comes out. She grips the mic as her vision blurs…

What happens next? What happens next? And after that, what happens next? Note the cause-and-effect of the action above. Take your script action by action, and give each moment a sense of importance as it sparks the next.

‘Watch’ your Movie

This technique comes from the great writer/director Robert Rodriguez, spoken in one of his series of ‘Ten Minute Film Schools’. If you’re stuck writing your script, stare at a blank wall in your house and ‘watch’ your movie. Let your imagination go and picture what it looks like when the lights go down and the titles flash up. What’s the first shot? How does the action unfold? What are the characters saying?

Script writing forces us to boil down our imaginations into readable chunks so that a director can bring it to life and a producer can pay for it. Sometimes, if you let yourself get caught up in the pressure of writing it all down, you can lose sight of the inspiration and ideas that spurred you into action in the first place. Watch your movie. Enjoy it. And then write it down!

Write Badly

If all else fails, start your script as badly as you can. Seriously: make an effort. Write your dialogue over the top, have too much detailed description and characters straight out of The Room. Push the melodrama, raise the stakes! And if the story is set in a retirement home, you better open your movie on the space battle happening above the Martian colony.

Why? (Entirely fair question.) Because bad writing is better than no writing. And once you’ve written the worst version of your script’s opening, you can focus on drafting it into what it should be. Start by cutting unnecessary things: descriptions, double-ups in dialogue, the space battle happening above the Martian colony. It won’t be long before you start strengthening things, adding better lines or more succinct versions. Before you know it, you’ll have cut through the crap to discover what your story should actually look like.

Conclusion

The effort it takes to start writing is immense. That’s because it’s the hardest part of the process: it’s what starts to turn that idea you’ve had into something others can experience and enjoy. So if you find yourself at the start of your writing journey, know that it gets easier the minute words are on the page. And you’re ten times the writer somebody else is who hasn’t written a thing.

So do whatever it takes to write. Try each of the tactics above, try a combination, ask peers and mentors for their advice. Sure, it’s tough. But there are few things as artistically rewarding as coming up with a little world of your own and telling a story there. And it’s especially true for actors, when you spend so much of your time caught up in the worlds of others.

Good luck!

Additional Resources

Before we sign off, here are some additional resources you might find helpful in your writing journey:

• How to Write a Play
• How to Write your First Screenplay
• How to Write a Scene for your Showreel
• How to Write a Monologue
• How to Write a Short Film
• How to Write a Vehicle for Yourself
• How to Write a Cabaret

The post How do I Start Writing a Short Film? appeared first on StageMilk.

This is being reductive, of course. But most punters can identify such abilities when they see them. Acting ability, on the other hand, is harder to nail down. It’s why so many people have differing opinions on what good acting is, and who a good actor might be. So in this article, we’re going to look at what the undisputed components of acting might be. “What is acting?” Let’s work towards an answer.

An Actor’s Process

You might be asking yourself what it means for an actor to have a process. Don’t actors have the same process if they’re performing the same job? And if not, how do we know which process is the right one, the correct one, the best one?

In short, an actor’s process is whatever gets them over the line. I, myself, have a particular way of working that may be totally different to how you were trained or currently operate in the industry. But if it works for you, like mine works for me, I’m not here to tell you to change a thing about it.

There are some aspects of acting that remain unchanged, such as the tools one is taught or picks up in schooling or through experience in their careers. But the actor’s process is an entirely personal journey, and one that should, hopefully, keep evolving throughout a long and vibrant career.

Is the need for craft changing?

My curiosity on this subject was piqued last month when Patsy Rodenburg, a leading voice specialist, decided to step down from her position as head of voice at the Guildhall School of Drama and Music. Guildhall is a prominent acting school in London that has produced some of the finest and most recognisable actors of screen and stage. Rodenburg cited changes in teaching standards, and the industry as a whole, as her reason for leaving the position.

To summarise, Rodenburg identified a shift away from traditional teachings in voice, movement and text analysis—a shift she could no longer take part in. To be honest, It’s a decision I respect. She saw the cultural shift in the industry and didn’t feel like she knew how to contribute. This allows someone who can take up the task to move in. Kudos to her.

An Acting Teacher’s Perspective

I have been teaching students of varying skills and ages for about four years. I can clearly see a difference in the interests of students, compared to what I was focused on as a student myself. For context, I graduated from The West Australian Academy of Performing Art (WAAPA) in 2008. Our training focused largely on the idea that, if you could learn how to command the stage, everything else fell in place. This meant our training was steeped in more traditional training methods of standardised vocal and physical coaching.

Students now seem to be more screen-focused, and therefore some of these traditional methods are losing their appeal. This is not necessarily a bad thing. The world evolves and shifts. Interests change.

The training I received was grounded in the idea that there were controllable things you could learn that would make you a better actor. Namely: you could learn how your body and voice can be used to enhance a performance. Personally, this took me from an actor with some basic instincts to an actor who could extend my range to areas I didn’t think were within my reach. However, I do feel as though I was on the cusp of the change I’m referring to. We received minimal screen training, and that meant a lot of my learning in that area was done in audition rooms and on the job. In that sense, I felt behind. I had to learn fast and fail often. 

Different Acting Tools

So, with the tide shifting towards a heavily weighted screen focus, what is the validity and place for those vocal and physical assets? Whenever I think of this question I hear the words of one of my favourite lecturers: “Screen doesn’t require less technical skill, it requires more specific technical skill.” A reduced (like the sauce), more refined screen performance often means we have to use our voice and body more efficiently. It’s not about doing less, it’s about communicating differently.

Command of the voice and body are as vital as ever. What does seem up for debate is how we go about acquiring and implementing the knowledge around these skills.

Finding Your Process as an Actor

Now we are in an area that is open to more debate and differing opinion. What goes on, intellectually, for acting to work? Are there undisputed intellectual processes that must be adhered to?

In this vein, I’m reminded of an interview I read with the late actor Anton Yelchin, a brilliant performer whom I admire greatly. He stated that instincts were all he had as a teen, and eventually he had to expand on that. I think this resonated with me because it is something I empathised with so deeply. In my training days, I could get away with big, bold choices that had conviction fuelling them. When it came to stretching to more uncomfortable areas, I felt at sea. That’s when I realised I needed to know why what I was doing was or wasn’t working. I needed to do my analysis.

Start with your Objective

I’ll cut to the chase here, I am absolutely certain that objective is an essential part of acting. If objective is something new to you, it is, put simply, ‘what your character wants and why they want it’. If we’re talking about the more invisible elements of acting, I believe we must always have our characters trying to ‘do’ something. I have never encountered a situation where a performance wasn’t enhanced by an actor focusing on what they were trying to achieve.

There are, of course, a bevy of other tools we can use to shape a performance. Emotional recall is one tool that I resisted for many years. Now, it’s essential for me to find truth in certain performances—whether I set out intending to use it or not. For those of you new to the idea, emotional recall is using your personal past experiences and applying those feelings to a performance that requires a similar emotional connection.

However, I offer up emotional recall with this caveat: a lot of self-monitoring needs to happen. If you draw on trauma or confront parts of your past, you need to balance what is helpful for a performance with what is safe for you and your mental health. It’s an example of the kind of tool I use in my own process, but wouldn’t necessarily recommend to any actor looking to try it.  Is it essential? I don’t believe so. Has it been essential for me at times? I think it has.

Playing Actions

Another popular example is the use of ‘actioning’. This is the use transitive verbs to influence a person or people you are speaking to—sometimes referred to as the ‘tactics’ that your character uses to get their objective. I know many actors who swear by it, but I’ll confess I rarely implement it in my own work.

There is an inevitable amount of trial and error when it comes to what processes work for you. You have to be glutenous, at first. Eat up any and all ways of working. See what fits, and find out what is and what isn’t for you. Some roles and projects will require more of one thing than another. The next project will likely require a different approach.

If we are trying to answer ‘What is needed?’ I’ll admit, I have more questions than answers on the subject of ‘process’. I will reiterate, though, that if something isn’t working for you, you can always return to your objective. What are you trying to do? Why do you want to do that and how do you go about it?

What can I do right now?

Great news is, you’re doing it. Engaging with places like StageMilk, and other resources, is part of ongoing learning that we should all continue. No matter your experience or skill level. The desire to investigate is a most essential component. Consume all art and information with an open mind, and take active interest in human behaviour and the patterns we see.

My most pretentious view on this subject is that acting can be seen as being ‘professionally empathetic’. It isn’t the job of the actor to judge or label our characters, but to understand them. Actor Ethan Hawke talks about seeing himself as the lawyer for his characters, and I think I see what he means. We go in to bat for our characters. We want to represent them with empathy and understanding. Where an audience may see characters as ‘good’ or ‘bad’, we must see them as justified in their actions.

Start engaging with the world around you. It sounds broad and simplistic, but an actor’s work is enriched by an expansive knowledge of the range of human experience. Read, watch, listen and ask questions.

So where does this leave us?

Let’s revisit the idea of ‘ the essential components of being an actor.’ It’s a question that I don’t think I can ever truthfully articulate a complete an answer for, at least for myself. But I think of this as a positive thing. If something is harder to define, then it is harder to narrow down. We can bring our own experience and perspectives to a lot of the work and go from there. There are more choices. While that can seem daunting, it can also be liberating.

I remember a staff member at WAAPA asking a visiting company of accomplished performers what they thought the ‘key’ to acting was. An awkward silence fell across the room and the performers, all of which were in Australia to perform one of the most acclaimed productions in the world at the time, had no answers. There are no shortcuts and there are no hidden secrets, just work, time, patience and dedication.

In terms of technical tools that we should look to as consistent guiding lights, there are things that I do think are a little less up for debate. If the industries of training and performing are moving away from traditions of vocal, text and physical coaching, then perhaps we need to hold ourselves to a greater level of personal accountability for those elements?

Conclusion

I talk to my younger students a lot about finding a place for themselves that I refer to as ‘your neutral’. What I mean by this is that there isn’t a correct way to stand, sound or ‘be’ as a performer, but there can be ways of identifying what works for you personally, and also works for communicating as an actor. It’s about identifying where our own strengths and weaknesses lie, and how we each go about growing from there. Trying to take note of our own assets and potential areas for further development is important in taking the next step.

Beyond the technical though, I think the closest thing I have to offer in terms of a ‘key’ is to continue to be curious. Continue consuming different ways of teaching. Continue consuming art that surprises you. And continue being observant. There will always be new perspectives on acting coming through that challenge our ideas and question what we thought we knew.

For now, my approach to the shifting tide is to find a balance between the old and the new. To look to peers and the people I respect for guidance, and put aside pride in the face of new information when necessary.

The work of an actor never ends. How wonderful.

The post Finding Your Process as an Actor appeared first on StageMilk.

B: “Hi.”

What just happened? Are these people two friends seeing each other for the first time since the summer break, or a condemned (but innocent) criminal greeting his smiling executioner? The joy of A/B scenes for actors is that both could be true. Without the context of a larger script or any supplementary information, A/B scenes (sometimes known as ‘open scenes’) give you all the power in the world to shape and bring them to life. They are extremely useful resources, which is why we at StageMilk decided to write and publish this collection.

This page contains a collection of free, original A/B scenes for actors, perfect for use in acting classes or drama workshops. These scenes contain minimal information regarding character and setting, allowing actors to experiment with characterisation and context using their given circumstances. In addition to traditional two-handers, there are scenes for multiple actors with the same, pared-back information.

Whether you are an actor looking to improve their craft or an acting teacher looking for resources in a drama class or workshop, this page will give you all the info you need to properly deploy and help your students/peers/yourself through the process. Scroll down to the bottom for additional resources StageMilk offers regarding free, original script available to our entire acting community.

How to Work with A/B Scenes

Before you jump in, take a look at the following concepts to help you navigate the A/B scenes on offer. Just because information in the script is minimal, doesn’t mean you can skip any part of the script preparation process. If anything, it’s more important than ever to find the context and thrust of the scene.

Script Analysis

Read the script, analyse the script and know the script. For A/B scenes, look at vocabulary and sentence structure in particular: what does one character’s style of speaking tell you about who they might be? Are sentences short or long? Does one character speak more than the other, or perhaps more confidently or emotionally than the other? Writers will always leave you hints in the words they chose (or didn’t.)

Finding your Objectives

What does your character want in this scene from the scene? Lack of context or action does not mean that you can skimp on this. Even in the example at the top of this page (“Hi.” “Hi.”) an objective must be needed: perhaps Character A wants to intimidate Character B, whereas Character B wants their scene partner to remain calm.

Plotting your Actions

Once you know what your character wants, it’s time to plot the actions/tactics they use to get them. Why does your character say a line? What’s the idea behind it that helps them achieve their goal?

Modifying the Moment Before

Establish what’s happened to each character before the scene begins, and then play around with it. “Hi.” “Hi.” could have happened after a lousy speed-dating event. It could also have happened after A caught B cheating on them after twenty years of marriage.

Establishing Given Circumstances

These classic Stanislavski questions of who, where, when, what, why and how will help you ground you choices in A/B scenes. The more context you can build with the given circumstances, the more realistic and compelling your scenes will be.

Changing it Up

Finally, be sure that you keep changing things around in these scenes: once you’ve played it a certain way, challenge yourself to re-invent the situation entirely. What else can you discover? What risks can you take?

A/B Scenes for Actors

While none of these scenes exceed a minute in length, it may be preferable in some instances to ‘split’ the text and only use a fragment for performance and analysis. This is particularly recommended for drama teachers—who may wish to use this material with greener students.

Encounter

Genre: N/A
Length: 1 min
Synopsis: A surprises B after time apart.

Refund

Genre: N/A
Length: 1 min
Synopsis: A would like to return something with B’s help. For cash, preferably.

Alone

Genre: N/A
Length: 1 min
Synopsis: A would like to sit with B to cheer them up. B has other ideas.

One More Thing

Genre: N/A
Length: 1 min
Synopsis: A doesn’t want B to worry about something, but they won’t get specific.

It Happened

Genre: N/A
Length: 1 min
Synopsis: A catches B up on a big development.

Do It

Genre: N/A
Length: 1 min
Synopsis: A wants B to do something. B knows they have to, but hesitates.

Turbulence

Genre: N/A
Length: 1 – 2 mins
Synopsis: A is going on a trip. B is nervous about it.

Catch Me Up

Genre: N/A
Length: 1 – 2 mins
Synopsis: A and B run into each other after a time apart.

Lost

Genre: N/A
Length: 1 min
Synopsis: A is searching for something. Be is not being helpful.

Remember

Genre: N/A
Length: 1 min
Synopsis: A wishes B to remember.

Leaving

Genre: N/A
Length: 1 min
Synopsis: A and B talk before leaving the house.

Embarrassed

Genre: N/A
Length: 1 min
Synopsis: A is embarrassed by something. B would like them to drop it.

Seat

Genre: N/A
Length: 1 min
Synopsis: A is sitting in B’s seat. How dare they.

News

Genre: N/A
Length: 1 min
Synopsis: A has big news for B, right before they make a life-changing confession.

Stolen

Genre: N/A
Length: 1 min
Synopsis: B has an issue with the way A has procured something important.

A/B/C/D/Etc.

These scripts follow a similar format to A/B scenes, but contain additional characters. These scenes may be useful in larger drama class settings, or for scene study workshops.

Voted Out (3 Roles)

Genre: N/A
Length: 1 min
Synopsis: A is informed by B and C that they are out.

Still or Sparkling (3 Roles)

Genre: N/A
Length: 1 min
Synopsis: A, B and C have an awkward disagreement over an order.

Relaxation (4 Roles)

Genre: N/A
Length: 1 min
Synopsis: A, B, C and D try to relax, but it’s not so simple. Apparently.

Additional Script Resources

A/B scenes are invaluable resources for actors that help train an understanding of the theory of character and drama. However, due to their short nature, they may only take you so far in your exploration of text. So once you’re done working with these pieces, you might like to take a look at some of the original material we offer here at StageMilk.

Original content:

• Practice Scripts for Actors
• Practice Monologues for Actors
• Short Monologues for Actors
• Scenes for Three Actors
• Scenes for Four Actors
• Scenes for Young Actors

Resources for acting and script work:

• Script Analysis: How to get the Most out of a Scene
• How to Discover Character Relationships
• What is Subtext in Acting?
• Rhythm and Pace in Acting
• Given Circumstances

All things showcase and presentation:

• How to Nail your Drama School Showcase
• Should I Take an Acting Class?
• How to Survive your Drama School Showcase
• Benefits of Scene Study for Actors
• How to Cut Down a Monologue or Scene

Across these pages (and the one you’re reading now), remember to check in regularly for new uploads. We are forever adding fresh original scripts for all your acting needs.

Enjoy!

The post A/B Scenes for Actors appeared first on StageMilk.

This article contains a collection of royalty-free, original scenes for four actors. There is a range of genres and styles, and some performance notes to aid in quick script analysis. These scenes would be perfect for scene study, acting classes or a student showcase.

Just like our other originals pages (monologues, scenes and three-handers), we will update this article regularly with new content. So feel free to give it a ‘bookmark’ and check in for fresh material each month!

Copyright-Free Scripts

Before we dive in, let’s talk copyright. These scripts are given without strings as resources for actors around the world: we want you to use them and enjoy them and have fun bringing them to life.

But we still encourage you to think about where your scenes and monologues come from: who writes them and how they pay their bills, especially when their work shows up online for free.

If you can, find ways to pay it forward to the artists who write your stuff. Did you use a great scene by a playwright for that audition you nailed? Consider buying the play online! Have a favourite book of monologues you swear by? Get it as a gift for an actor friend!

From The Writer:

Hello! My name is Alexander Lee-Rekers; I’m a professional playwright and screenwriter. I hereby give my permission for you to use the scenes on this page for personal practice. All I ask is that you credit my work and cite StageMilk as its source—especially if you’re teaching a class, or post it on social media. (If you’re feeling brave, you can tag me on Insta via @alexnobodyfamous so I can see what you do with it.)  Other than that: have fun, make bold choices and give ’em a go!

Scenes for Four Actors

These scripts utilise the in-house formatting of our StageMilk Scene Club scenes, and may be filmed or staged as required. Get experimental with this: take the relative lack of stage directions as a chance to take the unexpected route.

As always, engage with script analysis and some character creation work: just because the words on the page are relatively few, doesn’t mean the writer hasn’t given you clues for interpretation and subtext.

Finally, in the context of an acting class, a scene study or a showcase, don’t feel bound to the names/genders/pronouns as prescribed by the text. Modify these to reflect the best possible casting, not the other way around.

An Unfortunate Thing

Genre: Drama
Length: 3 – 4 mins
Synopsis: A married couple confront their overbearing neighbours with a piece of damning evidence.

Performance Notes: This is a deceptively difficult scene to bring together; the motives of Greg and Kathy need to feel entirely justified, even though they do shatter the privacy of their (admittedly awful) neighbours. What the hell is on the video that they show them? That’s for you to decide. A small piece of advice: try to avoid playing this piece as straight comedy. There are laughs to be had, but it’s far more effective as an exercise in claustrophobic suburban drama…

Bronze Monkey Statue

Genre: Comedy
Length: 3 – 4 mins
Synopsis: Two spoilt siblings argue with their aunt and the family lawyer over the inheritance of a bronze monkey statue.

Performance Notes: This is a fairly ridiculous situation, with some over-the-top characters and dialogue the match. The secret to performing it effectively, as with all comedy, is to play it completely straight. How can you make these situations and interactions feel totally normal and real to the characters involved? Set the stakes of the scene: what do they stand to win or lose?

Going Negative

Genre: 3 – 4 mins
Length: Drama/Political
Synopsis: A mayoral candidate debates with her staff on whether or not to use a damning story about her opponent.

Performance Notes: Going Negative is a great opportunity to explore rhythm and pace in acting: get that dialogue crackling! It’s also worth spending some time on the backstory and distinction between each of these characters. Also status: who has the most standing in the room? And why might it be Tim?

Red Dot

Genre: Comedy
Length: 3 mins
Synopsis: Three art students commiserate over the sale of a peer’s grad show painting.

Performance Notes: Gosh, they’re awful people aren’t they… Sometimes, you have to play a character that is entirely unsympathetic (usually in comedy, where the audience can have a guilt-free laugh at their expense.) The trick is to build a defence case for them: as the actor playing said garbage human, you have to be their lawyer and argue their actions are good and correct.

Switch

Genre: Drama
Length: 3 – 4 mins
Synopsis: Two couples are interviewed about their experiences

Performance Notes: Owing a lot to the influence of Samuel Beckett, Switch contains minimal information about characters and setting. That’s not to say that there aren’t characters and a story world to be built—as an actor in this piece, you have important decisions to make. Note that punctuation is practically non-existent in this piece. When does it occur? And why?

Additional Resources

There you have it: custom-written, free, original scenes for four actors! Remember to check back with us regularly for new uploads across this page and our other originals pages.

Finally, be sure to look at our other pages for free material and acting resources.

Original content:

• Practice Scripts for Actors
• Practice Monologues for Actors
• Short Monologues for Actors
• Scenes for Three Actors
• Scenes for Young Actors

Resources for acting and script work:

• Script Analysis: How to get the Most out of a Scene
• How to Discover Character Relationships
• What is Subtext in Acting?
• Rhythm and Pace in Acting
• Given Circumstances

All things showcase and presentation:

• How to Nail your Drama School Showcase
• Should I Take an Acting Class?
• How to Survive your Drama School Showcase
• Benefits of Scene Study for Actors
• How to Cut Down a Monologue or Scene (we promise we won’t be offended)

One Final Note…

If you couldn’t find a scene on this page that really resonated with you, and you’re struggling to find material elsewhere … why not try writing one yourself? Here at StageMilk, we encourage all actors to experience writing and directing to get a more rounded understanding of how they fit into the on-set/stage dynamic. Consider coming up with a scene for your showreel, or even writing a monologue to get the ball rolling. You might discover an entirely new artistic passion!

The post Scenes for Four Actors appeared first on StageMilk.

This article contains a list of free, original practice scenes for young actors. These scenes sit across the comedy and drama genres, and would be perfect for teenage actors in drama classes. They carry some age guidelines and content warnings, but may be useful for groups beyond these classifications based on the skill level and maturity of your pupils. These scenes for young actors would be ideal for scene study, script analysis or even for use in a showcase.

One last thing: as with all of our free script resources on StageMilk (listed at the bottom of this article), this page will be updated periodically with fresh material. So keep checking in for new scripts on the regular!

Copyright-Free Scripts

Now, with the above gripe around finding free material out of the way, I’m going to step out of teacher role and into that of a playwright. The reason it’s hard to find copyright-free scripts is because writing is hard and it’s not worth nothin’. It takes a great deal of effort and consideration from a writer, only to see it used for free with little consideration as to their long-term wellbeing.

One of the reasons StageMilk is eager to provide this resource is to support drama teachers—to whom all of us in this industry owe our livelihoods and passions. But let us take this opportunity to say when it comes to written material for classes: pay it forward when you can. Buy the playwright’s work online if you can, talk to your HOD about investing in local material or patronising a nearby theatre company.

Practice Scenes for Young Actors

These scripts utilise StageMilk’s in-house formatting style, which is designed to make the scripts easy to read. Unlike a screenplay, which is decked out with all sorts of visual information, there is relatively little on the page for actors to draw from. Have your students pay close attention to the stage directions, but encourage them to imagine the world and the blocking of the scene beyond that.

The same can be said for character. With the information on the page as a starting point, what can students learn about these characters? How can they build them up and bring them to life? Most importantly, what do these characters want? Either as a preceding exercise, or something you utilise with one of these scripts when working in a class, we recommend exploring our article on script analysis with your pupils.

NB: While names and genders are specified in these scripts, we would greatly encourage yourself and your students to look past these and select material that they find themselves drawn to. Names and pronouns can be changed to reflect the best casting available. In fact, they most certainly should be!

A Deadly Dare

Age Range: 12 – 18
Genre: Comedy
Length: 2 mins
Synopsis: Two friends egg each other on to complete a dare.

Performance Notes: Find the stakes of this scene. Just because it’s comedy doesn’t mean that the feeling of whether or not Derren and Gus complete the dare shouldn’t feel like a life or death undertaking! Also, while it is mentioned above, this is a perfect comedy scene to gender swap to non-male-identifying characters. Have fun!

The Letter

Age Range: 12 – 15
Genre: Drama
Length: 2 mins
Synopsis: Sam confronts Ash over a discovery made during the school day.

Performance Notes: This is a tough encounter for both of these characters. Think on their ‘moment before’—the thing that has happened to them that has led them to this scene, this particular moment. Also consider the staging: how can you use the proximity and body language of these characters to suggest how they feel?

Final Cut

Age Range: 12 – 16
Genre: Drama
Length: 2 – 3 mins
Synopsis: Two friends clash over a creative project.

Performance Notes: Pay attention to the subtext in this scene. What’s this interaction really about? Is it about making movies? Or is it about growing up and growing apart? Final Cut is another great example of the ‘moment before’. How long have they been filming for? Are they tired, angry, frustrated? The more reality you can bring to the beginning of this moment, the more truthful it will feel when the characters begin to clash.

The Spontaneous Hand-Hold

Age Range: 14 – 17
Genre: Comedy
Length: 2 – 3 mins
Synopsis: Tonye commiserates with best friend Emily over a terrible first date.

Performance Notes: Take the time to work on rhythm and pace in this piece. Emily and Tonye are very close, and are expert communicators with one another, so pick a quick tone that allows for some meaningful pauses to occur. For Tonye’s retelling of the date, engage with the concept of imagery: try to paint the picture for Emily (and therefore the audience) about how the date was, as well as how these images make Tonye feel. Finally, spend some time on the ending. What does it mean? How do these characters really feel about one another? And does this modify the scene in any interesting or significant ways?

Take the Rap

Age Range: 15 – 17
Genre: Comedy/Drama
Length: 3 – 4 mins
Synopsis: Bella and Hunt wait outside the vice principal’s office for punishment. (Note: some coarse language.)

Performance Notes: Find some distinction between these characters—how they act and speak and carry themselves. However, beware that you don’t play into stereotypes for either character; this is a scene that relies on the actor successfully subverting that first image. The writer doesn’t give us a lot to go off for why these characters are there. Can you come up with something that fits and justifies the actions and behaviour of Bella? Spend some time fleshing out the shared history of these characters and what the larger context of the story might be.

Film Scripts for Young Actors

In this section, you’re going to find some resources designed for use in filmmaking and screen acting classes. These scripts are shorter than those provided above, and are more visually descriptive. This allows the actors to get a sense of the difference between stage plays and screenplay formatting.

Our recommendation is to cast this film and then select a director and cameraperson. The director’s job is to shape the performance and block the scene, and the cameraperson’s job is to shoot the thing (all in a single take can be a fun challenge) and ensure the story is being told. Where’s the most correct place to put the camera? Is it focused on the person talking, or the reaction of their scene partner?

Day Off! But Oh No!! Zombies!!!

Cast: 3
Age Range: 7 – 17
Genre: Comedy
Length: 2 mins
Synopsis: Ash’s plans for a day off are thwarted by the zombie apocalypse.

Performance Notes: As with all comedy scenes, this piece works best when played absolutely straight. Spend time on the ‘moment before’ and given circumstances, which will help ground the piece and make it feel more realistic. It’s also worth developing a character relationship map between Ash and Taylor: a lot will change depending on whether or not they’re friends, enemies, rivals, etc.

Filming Notes: Comedy is all about shooting wide and shooting close. For this piece, less will be more—especially for the reveal of the zombie half way through. Can the zombie be framed in the background of the scene somehow, only to feature at the end when needed?

Out of Time

Cast: 4
Age Range: 7 – 17
Genre: Sci Fi
Length: 3 mins
Synopsis: A rescue mission on an unknown planet reveals a greater threat.

Performance Notes: This is a great scene to drill objectives—what each character wants and how that creates a clash. While the three characters are on a rescue mission, they have different goals in mind for themselves, which creates tension for the Captain who has to keep the team on task.

Filming Notes: Science fiction stories are driven by ideas, not effects. Don’t focus on creating a believable set, focus instead on making the world feel ‘real’ and ‘lived-in’, and the characters believable. The audience won’t worry about the technical aspects if they care about the people in the film.

Habeas Porpoise

Cast: 3
Age Range: 7 – 17
Genre: Comedy/Crime
Length: 2 mins
Synopsis: Detective Jones and Harper investigate the murder of famed dolphin cloner Professor Clay.

Performance Notes: Pay particular attention to character objectives: while the detectives are technically there to solve a crime, their goals actually involve each other: to train the rookie and to make their mentor proud. And a quick note on the dolphin transformation. This moment rewards bold choices from performers, who can heavily lean into the ridiculousness.

Filming Notes: The successful reveal of Professor Clay’s status requires some thought. Is there a way to frame Harper’s reading of the lab tech log so that Clay appears behind the detectives, creating suspense for the audience?

Synth Wizards

Cast: 3
Age Range: 7 – 17
Genre: Comedy/Fantasy
Length: 2 mins
Synopsis: Duelling wizards duke it out in the Cavern of Souls.

Performance Notes: There’s no denying that this is an extremely silly script. The key to its success is for the actors to take it completely seriously. Ask them to consider the stakes of the piece, and how this might help them bring truth to the performances.

Filming Notes: Short of a special effects budget, there’s no way to make the spells look real when filming. Think of this as a challenge: how can you film this and use the movement of the camera to suggest a great deal of power is being thrown across the space? As always, if the actors sell it as real, it will look a lot more convincing than even the most technical CGI fireball.

Additional Resources

So there you have it: fresh scenes for young actors ready to be pulled apart and put on stage! If you’re looking for more material for students, there are a few other pages below that might be helpful. Please be aware that not all material will be suitable for younger ages.

• Practice Scripts for Actors is our largest resource for original material at StageMilk. It contains scenes formatted for both stage and film scripts, with a scene breakdown on each. This page also contains some A/B Scenes that are perfect for foundational acting classes.
• Practice Monologues for Actors is similar to the above page, but contains original monologues.
• Short Monologues for Actors are monologues that clock in under a minute, perfect for audition pieces.
• Scenes for Three Actors does exactly what it says on the box. These scenes are perfect for larger classes and drama school showcases.

The post Scenes for Young Actors appeared first on StageMilk.

This article contains a collection of original, copyright-free scenes for three actors. Each scene was developed in-house by staff at StageMilk. There is a mix of dramatic and comedic scenes of different lengths and styles.  These scenes may be used for acting classes, showcases or scene study between actors.

Just like our practice scenes for actors and practice monologues for actors articles, we tend to update update these pages regularly. So feel free to give this page a bookmark and check in for new original material. You never know what might jump off the page and capture your imagination.

Copyright-Free Scripts

Before we get into the good stuff, let’s talk briefly about copyright-free material. It’s fairly easy to find acting resources online you don’t need to pay for. That’s kinda how a lot of the internet works.

And while we’re offering this material up to you at no cost, it’s worth thinking about where your scenes and monologues come from: who writes them and how they pay their bills when so much of their output is available at the click of a button.

Have a think about where your scripts come from. If you can, find ways to pay it forward to the artists who write them. Did you use a great scene by a playwright for that audition you nailed? Consider buying the play online! Have a favourite book of monologues you swear by? Get it as a gift for an actor friend! (Oh, and before you spiral into guilt, let us assure you we paid the writer of these scenes.)

From the Writer:

Hello! My name is Alexander Lee-Rekers; I’m a professional playwright and screenwriter. I hereby give my permission for you to use the scenes on this page for personal practice, as well as showreels. showcases and auditions. All I ask is that you credit my work—especially if you post it on social media. (If you’re feeling brave, you can tag me via @alexnobodyfamous so I can see what you do with it!)

None of these scenes are to be recorded, filmed, staged, re-written, developed or adapted for professional purposes. Legal stuff aside: go for it! Make bold choices! Pull ’em apart and give ’em a go!

Scenes for Three Actors

These scenes utilise an in-house formatting style we use for our StageMilk Scene Club, which is closer to a playscript than a screenplay. There’s less visual information to go on, fewer stage directions. But use this as an opportunity to experiment with staging rather than feeling listless. How can you interpret it? What can your script analysis tell you about how the scene might unfold?

Last thing: in the context of a class, study or showcase, don’t let yourself be bound to the age or gender of characters as written on the page. Who do you sympathise with, who do you vibe with? Is there a particular theme or emotion you’re looking to capture? If so, consider modifying the name or pronoun to fit you best.

Ruby Year

Genre: Drama
Length: 3 mins
Synopsis: While prepping a fortieth wedding anniversary party for their parents, two siblings are surprised by the unexpected appearance of their estranged older brother.

Performance Notes: A lot goes unsaid in this piece about the history of each character—as well as their shared relationships. Delve into your character and find what distinguishes them: their voice, their mannerisms, the rhythm of their speech. While there is humour in this piece, don’t be afraid to sit in the drama as well; the situation may be somewhat absurd for those involved, but they are still real people dealing with events unfolding.

New Start Cleaners

Genre: Comedy
Length: 3 mins
Synopsis: Three friends have started a business doing crime scene clean-up. Covered in blood and viscera, they interrogate their reasons for choosing such distasteful work.

Performance Notes: While this piece sits firmly in the comedy genre, don’t be afraid to work on the circumstances of the scene so it feels totally real. Polly, in particular, is a character who threatens to become very over-the-top. Work to find out why she is this way, and what she sees in the other characters (whom she clearly feels affection for even if she can’t convey it.)

The Pitch

Genre: Drama
Length: 5 mins
Synopsis: A sales team visit a divisive client in order to make a sale.

Performance Notes: It’s very easy to look for the comedy in this scene and find it. The language is sharp, snappy—almost stylised. However, resist the temptation to send the scene up: play it with total sincerity and let the tragedy of the situation trickle through. As for the characters, ask yourself how they present to the others in the scene. Who is posturing, masking, performing and to what end? And where might the ‘performances’ begin and end?

Folk Night

Genre: Comedy
Length: 2 – 3 mins
Synopsis: Lucy is called into a strange mediation at work following her boss’s discovery about her personal life.

Performance Notes: Look to strike the balance between “mundane” and “absurd” in this piece. Some characters are over the top, some things they say are utterly ridiculous. And yet, there has to be no doubt in their minds that they are reasonable, intelligent people. The comedy of this scene comes from the sincerity of Cliff and Derek, and the indignation of Lucy as she is ambushed. Find the truth and the humour will follow!

Bottle Talk

Genre: Drama
Length: 2 -3 mins
Synopsis: Two friends farewell the third of their trio, who is leaving behind their small town for new opportunities.

Performance Notes: This one is all about the chemistry between its characters. Spend time on their shared backstory, building out that rapport, that will make them seem like they’ve known each other for three lifetimes—not three minutes. Furthermore, think about what’s ahead. Ren seems to have it all figured out, the whole world ahead of them! What’s it like for Sarah and Albert, who don’t have the same path in front. How is this scene a turning point in not just Ren’s life, but everybody’s?

Ajax

Genre: Drama
Length: 3 mins
Synopsis: Nat and Tina negotiate a hostage situation with Nat’s imposing husband Gus.

Performance Notes: Gus is awful. A real garbage fire of a human being. For the actor portraying them, there’s a challenge to be had in making him feel human—”sympathetic” is probably a step too far. Play with rhythm, pacing and silence in this scene: what is being said in the silence, how does the status of each character inform their performances? Finally, think on the reveal of Ajax: how can this be downplayed for the audience for maximum impact?

Conclusion

So there you have it: fresh, original scripts for three actors! As you browse through the selection and start reading, take care to note any recurring advice in the performance notes. Be wary of given circumstances and character relationships. Look to distinguishing your character from the others by anchoring them with a strong objective, as well as actions that suit their character’s personality and motivations.

Above all, play close attention to the world of the script. The more you can build this out, informed by script analysis, the more successful you will be in realising the scene as a complete, standalone work. These scripts aren’t excerpts, but that’s not to say they don’t suggest a larger narrative, or arc for the characters with subtext to match. Approach these scenes with the same rigour you would a Shakespeare play or a ten-part series. Your acting will be stronger for it.

Good luck!

The post Scenes for Three Actors appeared first on StageMilk.

In-yer-face theatre is a style of theatre associated with young/emerging playwrights and shocking, provocative material. While in-yer-face theatre began as a movement in British theatre in the 1990s, it is often used as a stylistic descriptor of contemporary work that explores topics as diverse as sex, violence, addiction, mental health, class struggle and even war. It is, arguably, a genre unto itself.

In this article, we explore a brief history of in-yer-face theatre, review a few of its key players and their notable works. We’ll also talk about the evolution of the style into a genre, and examine where it sits today.

A Brief History of In-yer-face Theatre

The phrase “in-yer-face theatre” emerged in the 1990s, and while it is often attributed to a critic named Aleks Sierz (who wrote the definitive book on the movement), he himself denies having coined the term.

The term was used to describe the prevalence of new, angry writing by young playwrights—particularly those in the London/British theatre scenes. These plays would typically deal with unlikeable characters, and would usually tackle ‘shocking’ material such as violence, sexual violence, drug addiction, racial hatred, misogyny and mental health.

Funnily enough, in-yer-face theatre constitutes less of a rigid stylistic movement, and more of a cultural trend in 1990s Britain that saw the prevalence of similar works being produced at once. Some critics point to cultural events such as the AIDS epidemic or the aftermath of the Thatcher Era to explain the emergence of such anger in the art being made.

However, despite the near ubiquity of in-yer-face theatre, the ‘movement’ burned brightly but briefly. Audiences and playwrights alike began to tire of on-stage brutality. Many established stage writers, such as Martin Crimp, Martin McDonagh and the American playwright Tracy Letts owe their careers to explosive starts in in-yer-face theatre. However, the anger of their younger work is largely missing from their recent, more ‘mature’ work.

Notable Figures

The three main figures in in-yer-face theatre, according to Aleks Sierz, are Sarah Kane, Mark Ravenhill and Anthony Neilson. However, other writers have been associated with the movement, including: Jez Butterworth, Martin Crimp, Stephen Daldry, Denis Kelly, Tracy Letts, Martin McDonagh and Phyllis Nagy.

Notable Works

By no means an exhaustive list, but this should get you started with a few of the heavy hitters:

• The Pitchfork Disney (1991) by Phillip Ridley
• Killer Joe (1993) by Tracy Letts
• Mojo (1995) by Jez Butterworth
• Blasted (1995) by Sarah Kane
• Shopping and Fucking (1996) by Mark Ravenhill
• The Beauty Queen of Leenane (1996) by Martin McDonagh
• Attempts on Her Life (1997) by Martin Crimp
• Closer (1997) by Patrick Marber
• Cleansed (1998) by Sarah Kane
• 4:48 Psychosis (1999) by Sarah Kane

The Legacy of In-yer-face Theatre

It might seem strange to attribute so much time and effort to in-yer-face theatre, given that the movement—in contrast to the rest of the history of drama—is a flash in the pan. So what is its legacy? Or, to be more frank: why should we care?

In-yer-face theatre was always defined as a genre that belonged to youth. It was the young, angry playwrights who were pissed off with the world, politics, their parents, and the theatre scene itself. When they had their chance to speak, why wouldn’t they do so with vitriol and curse words? For this reason, in-yer-face theare finds a steady stream of admirers in young, impressionable theatre artists. You tend to encounter Sarah Kane in drama school, right around the time you wish Shakespeare, Moliere and Miller would just fuck right off.

This is why it’s easy to get wrapped up in the movement. The plays of in-yer-face theatre, even though they’re over a quarter century old, still feel fresh and brimming with energy. While the style might have gone out of vogue, there’s always joy to be found in the work of young, brilliant writers with anger on their minds (many of whom went on to enjoy amazing and varied careers). Plus, now that the critical hype/hate has died down, we’re able to more accurately appraise plays that may not have been given a proper go by audiences weary of all the eye-gouging.

Conclusion

In-yer-face theatre gets a lot of criticism for being flashy, over-the-top and provocative for its own sake. Despite this, it shouldn’t be dismissed. Give the genre a go, and see what beauty you can find in its calculated ugliness. You may be shocked, but you won’t be disappointed!

The post What is In-yer-face Theatre? appeared first on StageMilk.

Updated 6th December, 2022.

This article contains a list of the best places to stream and watch theatre online. It includes a list of dedicated theatre streaming sites, as well as the online portals of prominent theatre companies from around the world that have begun to film and broadcast productions in a post-COVID world. This article also covers some offerings on established, non-theatre streaming services such as Disney+ and Netflix, as well as free sites like YouTube—and what kind of theatrical gems you might discover there.

Why Should I Watch More Theatre?

This is an entirely valid question, especially for actors who consider themselves more screen- than stage-focused in their careers. In addressing it, we’re going to offer up three distinct answers. First of all: watching more theatre will make you a more literate, rounded and informed artist. You’ll understand more about the history of your craft, you’ll get more of the references in the text. When you take the time to know the theatrical canon, you’ll begin to understand that the history of drama (film, tv and theatre all included) is not a linear timeline, but a web. Artists and artworks reference one another, influence one another. It’s all connected. At the very least, you’ll find yourself more able to communicate with writers and directors—whose works are always tied to what has inspired them.

Secondly, theatre is an actors’ medium. It’s not like film or tv, where your most brilliant performance is still at the whims of a director, or editor who might cut you out of the story altogether. The stage belongs to actors; in studying the work of your professional peers, you’ll have the chance to learn from them about shaping character and performance. There’s no help from the camera, no montage trickery: what you see is what you get. And that can be extremely exciting.

This leads us to our third answer: there is no reason you shouldn’t pursue any opportunities to act on stage. If you’re unfamiliar, familiarise yourself. And if you’re not a fan, go find out what works for you! If you’re a business-minded actor, think of it this way: why deny yourself an entire possible stream of revenue/career clout, because you “don’t work on stage”? You should immerse yourself in theatre because, as an actor, it is your business. Has been for millennia.

Dedicated Theatre Streaming Services

Dedicated services that stream theatre online are relatively few. Those that do exist lack the buying power of a company such as Netflix or Amazon, so don’t expect to see the biggest names or companies represented. Rights issues also complicate things, as a playwright (or estate) generally wants to see multiple productions of a show, rather than one bottled online for a fraction of the profits. However, some services do exist, and offer an impressive array of shows.

Digital Theatre+ is an education-focused company that boasts thousands of productions and online resources, servicing over 2900 learning institutions around the world. The best news is: if you are a member of our very own StageMilk Scene Club, you automatically have a subscription to this service!

Similar services include BroadwayHD, Dramox, Digital Theatre (not to be confused with the above-mentioned “+”) and Marquee TV, a newer service that also advertises ballet and dance. Here in Australia, we’re lucky enough to have Australian Theatre Live: they tend to offer more contemporary work, which stands in contrast to other services’ heavy reliance on classics and license-free material.

Specific Theatre Company Portals

During the pandemic, many prominent theatre companies began streaming their own shows on dedicated company portals. While you are tied to one company, and the selection is often less extensive, this is where some of the best theatre online can be found.

Let’s start off with a juggernaut. National Theatre At Home is a subscription service that showcases some of the greatest work happening on stage in London (not to mention the world). As the National has been professionally filming their work for the past few years—screening it ‘live’ in specialty cinemas internationally—they have a healthy backlog of incredible shows for subscribers, and add to their library each month.

Just down the Thames, Shakespeare’s Globe has The Globe Player. It’s a resource of brilliant productions (provided you don’t mind Shakespeare). Across the pond, you can get some incredible work from The Lincoln Center in New York, as well as some audio plays via L.A. Theatre Works.

The above examples include some of the best current online offerings. Many other theatres offered more during COVID lockdowns, but have discontinued their services (as streaming and hosting can be costly infrastructure investments to one’s web presence).

Our recommendation is to keep an eye on your favourite theatre companies and see if they offer any one-off streamed performances of their upcoming seasons. Some of the best shows streamed in the past few years, from world-class companies such as Schaubühne or Complicité, were available for just a few hours before disappearing altogether!

Streaming Theatre Online for Young People

Funnily enough, a lot of the best theatre streaming services are currently run by youth-oriented theatre companies. This is because a great majority of established theatre companies for young people already offer online services, to deploy to educational institutions such as colleges and schools.

Our top recommendation is the Australian Theatre for Young People‘s platform ATYP On Demand, which streams past productions for ages 10-26 as well as other educational material. The Children’s Theatre of Cincinnati offer up a portal called TCT Everywhere, as does the Windmill Theatre’s Windmill at Home (also based in Australia).

You may not find the edgiest, most adult or cutting-edge material on these platforms. However, if you’re looking for insight into the theatre-making process, a lot of these companies couple their streamed shows with supporting educational resources.

Traditional Streaming Services

Chances are, if you’re reading this article, you’ve already had a look at what’s on offer via the streaming giants. That said, there are a few gems available you won’t want to miss. Disney+ is the obvious service to mention, with its catalog of licensed musical productions such as Hamilton and Newsies. However, take a look at what’s available in your country on Amazon’s Prime Video.  Depending on your location, it lists an impressive array of filmed productions, including some licensed directly from the National Theatre (At Home).

When it comes to traditional streaming services, our recommendation is to look at the wealth of media about theatre than shows themselves. On Netflix alone, we would recommend the film tick, tick…BOOM!, the story of Rent composer Jonathan Larson; and Best Worst Thing That Ever Could Have Happened: a documentary about the disastrous debut of Stephen Sondheim’s Merrily We Roll Along. 

Watch Theatre on YouTube

This option requires a bit of a disclaimer. Don’t get us wrong: there is incredible theatre available to stream on YouTube! It’s also a great way of accessing material unavailable on other services due to geo-blocking (such as David Byrne’s incredible American Utopia, which is otherwise exclusive to HBOMax.)

But YouTube is a minefield when it comes to licensing and copyright issue. And while you might find a production available for free you’d have to pay for elsewhere, our recommendation would be to support the artists rather than stream it for free. At the very least, pay it forward, if you can, by supporting their work elsewhere.

Want to know the very best theatre to watch on YouTube? Amateur, student and independent productions! Sure, some of them are hilariously bad … but who among us isn’t guilty of the same at some stage of their career? YouTube is also a great place to find recordings of particular monologues or scenes. If you’re prepping for an audition and want to hear Biff carry a pen down a flight of stairs, search “Death of a Salesman Biff Monologue” and see what your colleagues around the world are doing!

Keep Discovering Theatre Online

While COVID uncertainty and lockdowns are part of our lives, theatres are sure to keep offering what they can to wider, online audiences. For this reason, we can only hope that the options in this post are soon outstripped by new and exciting ways to experience theatre from all over the world. So keep looking! Keep your ear to the ground for one-off streamed performances, or digital seasons from your local theatre-makers.

Just be sure, whatever you find and wherever you find it, you share it with the rest of us!

The post Where to Stream Theatre Online appeared first on StageMilk.

Updated 15th May, 2024.

Copyright-Free Scripts

Finding truly copyright-free material can be difficult, and the reason for this is fairly simple: writing is tough. It requires a lot of time, a lot of training and very few writers are willing to give their hard work away for free! Practice scenes for use in an educational context, showcase, for a showreel or an audition are still technically covered by copyright laws—you should really be paying for them, or at least seeking the permission to use them. However, as the scenes are generally not being used for direct financial gain, there is a bit of legal wiggle room when it comes to using this material.

In the future, have a think about where your scripts come from, and find ways to support and respect the artists who write them. Did you use a great scene by a playwright for that audition you nailed? Consider buying some of their work online! Do you have a favourite book of monologues or scenes you swear by for auditions? Get it as a gift for an actor friend! Our best advice is to pay it forward when you can.

From The Writer:

Hello! My name is Alexander Lee-Rekers; I’m a professional playwright and screenwriter. I hereby give my permission for you to use the scenes on this page for personal practice, as well as showreels and auditions. All I ask is that you credit my work—especially if you post it on social media. (If you’re feeling brave, you can tag me via @alexnobodyfamous so I can see what you do with it.)  Other than that: have fun, make bold choices and give ’em a go!

Practice Screen Scripts for Actors

These scripts utilise a conventional screenplay format. The thing to remember about scripts written for screen is that you often get far more visual information than their stage counterparts: action, time/scene jumps and even the types of shots to be used when filming. While all of these details are helpful when you’re analysing the script, don’t let them bog you down when it comes to practicing or shooting them. A scene set during a long car ride can probably be shot at a kitchen table without any major rewrites.

There is also no need to film multiple angles, at least when you’re developing a self-tape. You might feel the pull to cut to other angles for the complete cinematic effect, but this isn’t necessary when it’s about showcasing your work as an actor.

NB: You may notice that very few of the scripts provided on this page talk about the age or gender of the characters. This is a deliberate choice by us to get you thinking beyond how you might normally cast yourself. Naturally, it’s different in the context of a professional casting. But when you’ve got the power to pick your own role, an age or gender swap/total disregard can be a terrific challenge!

Auld Lang Syne

Genre: Comedy
Length: 2 – 3 mins
Synopsis: Two best friends debate whether or not they should kiss at midnight on New Year’s Eve.

Performance Notes: Keep this script short and light, and let the banter between the characters carry the comedy without turning them into caricatures. It’s also worth thinking over the given circumstances in a piece like this, as factors such as fatigue and level of intoxication might be important modifiers to performance. As an extension to your work in this scene, consider doing a biography of the characters and their past relationship.

The Fan

Genre: Drama
Length: 3 mins
Synopsis: An washed-up rock star, working in retail, is accosted by a pushy fan.

Performance Notes: While we’ve put this script into the “drama” genre, there’s actually quite a bit of room to move between something comedic … and something quite menacing. Consider the differences between the characters in terms of physicality and even age; ask yourself how your particular character feels about being seen and heard as the scene plays out. Finally, the ambiguity around the true identity of “Jessie” is worth playing with. Try this scene a few different ways: is The Fan correct? Are they mistaken? Does Jessie actually enjoy being recognised?

“Just A Chat, Nothing More”

Genre: Thriller
Length: 3 – 4 mins
Synopsis: A distgruntled spouse is given one last chance by their hired hitman.

Performance Notes: The thriller genre is all about information. Who has it, who wants it, who knows what (and who knows who knows what)! Don’t give yourself away as either of these characters: play with pauses, silence and body language. “Just A Chat…” is also a great scene to explore status and power. Try this scene with varying levels of status for each character; look at where, in the scene, that status shifts and why.

White Room

Genre: Comedy
Length: 4 – 5 mins
Synopsis: A couple are confused by a strange, white room in an art gallery.

Performance Notes: On the page, this scene reads short and sharp. Don’t be afraid to slow it down, and let the comedy come from the awkward pauses of each character trying their best to comprehend the situation. While this could play out with minimal staging, you might want to experiment with physicalising this scene: choreograph the blocking, and work out eye-lines to suggest the other (silent) characters that Kris and Gerry encounter.

Risk Management

Genre: Comedy/drama
Length: 3 -4 mins
Synopsis: Two shady characters debate what to do with a mysterious package left by a third associate.

Performance Notes: This is a scene that reads as quite ‘theatrical’, which is a way of saying that there is little in the way of dynamic or even physical action. Like White Room, above, resist rocketing through the banter-y dialogue of Pike and Scratch. Find the edge and the menace, and work hard with your scene partner on establishing strong given circumstances. The audience never needs to know what’s actually in the package, but your idea of its contents should be crystal clear.

Cuff-Links

Genre: Drama
Length: 3 mins
Synopsis: A cleaner is confronted by a wealthy employer over some missing cuff-links.

Performance Notes: For a piece so driven by the wants and personalities of these characters (as well as the power dynamic they share), there’s not a lot on the page to go on when bringing Deeley and The Cleaner to life. Take your time making some strong choices in this department: think about how different personalities might affect the dynamic of the scene. It’s also worth discussing the meaning of the ending: what is the significance of that final line?

Speed Trap

Genre: Comedy/Drama
Length: 2 mins
Synopsis: A low-level political operator is stopped for a traffic violation.

Performance Notes: Focus on character in this piece, especially if you’re looking to accentuate the comic elements of the scene. Power dynamics between John and Officer Hudson are worth exploring with your scene partner, along with the uncomfortable silences that are par-for-the-course with this kind of interaction. What remains unsaid? And what’s happening in those moments between lines, where so much of the action takes place?

Pictures of my Dog

Genre: Comedy
Length: 2-3 mins
Synopsis: Two friends discuss an odd encounter on a dating app.

Performance Notes: Any comedic scene like this lives or dies on how real its characters feel; the more work you do on fleshing out Ben and Vera, the more you get to push the strangeness of the story Ben relays. This scene is also a great opportunity to work on creating lasting images in the mind of your audience: how, as Ben, can you tell the details of your date to Vera in a way that will help the audience ‘see’ the action unfold in their minds. How does Ben remember it? Which details stick out with them, and why?

Shot Clock

Genre: Drama
Length: 3 mins
Synopsis: A man bails out his brother after an unfortunate run of luck.

Performance Notes: This is a relatively straightforward scene—on the page, at least. Pay attention to the relationship between the brothers, and think about the history of their interactions. Where does this bail-out sit in the timeline of bail-outs? How fed up is Kyle with his brother. Then there’s offence Ed takes in Kyle talking to his partner. Just how much does he have to worry about? Is Kyle trustworthy and honest? For that matter, is Ed? Establish the truths of this scene with your scene partner, but don’t be afraid to experiment with different circumstances to see what works best for you.

Lagoon Poolside

Genre: Drama
Length: 5 mins
Synopsis: A gossip columnist meets with an aspiring actress about a soon-to-break scandal.

Performance Notes: Actor-playing-Yasmin beware. You have some big decisions to make in regards to this character. What is her objective? Can she really be trusted? Spend plenty of time on character backstory for this piece, and solidify the events as they unfolded with the awful Trip. This piece suggests a classic Hollywood period setting; experiment with accents if you like, but don’t let the accent or the setting overwhelm the other work that needs doing. Don’t lose the nuance.

Offspring

Genre: Drama
Length: 5 mins
Synopsis: A first date is derailed by a personal faux pas.

Performance Notes: Once you’ve read this piece, and gleaned the shift in tone as the beat changes, it’s very easy to play to the end of this scene: the rift between the characters. Resist the urge to play the antagonism between these two, and think about what they like about each other when the scene begins. This will ensure the turn is all the more devastating.

Practice Theatre Scripts for Actors

Scripts written for stage usually have less visual information than a screenplay. Usually, this is because it’s harder to control what happens during each production of a play—such as a director’s individual artistic choices, or how much budget a production will have. Pay attention to stage directions, but know that you’ll probably have to work more with the dialogue (and, therefore, the subtext) to really get to the meaning of the scene.

Just because information isn’t directly given to you, doesn’t mean it’s not important, or there to be discovered. To the best of your abilities, mine the scene for subtext and analyse the text to build a picture of the story world.

Alchemy

Genre: Drama
Length: 3 mins
Synopsis: On his first payday at a new job, Teddy makes a potentially dangerous request of his new boss Marcus.

Performance Notes: This is a script that really benefits from some close textual analysis. Analyse every sentence, every word, every punctuation mark for meaning. What can you learn about Teddy and Marcus from the way they speak—and the way they communicate with one another? Spend some time thinking about the oft-mentioned, never-seen Errol. Who is this person? The more you can make that character seem real and affecting to the people on stage, the more you’ll build out this mysterious little world…

The Cushion

Genre: Drama
Length: 4 -5 mins
Synopsis: Two friends discuss the details and aftermath of a shocking accident.

Performance Notes: More than any other script on this page, The Cushion is closer to a short play than it is a standalone scene. With this in mind, try to focus on the given circumstances, as well as the character biographies of all involved (especially the pivotal character of Jeffrey, who never once appears in the scene). Finally, try to resist racing towards the ‘twist’ in the scene; while it’s an important dramatic turning point, we care about the characters for who they are—rather than what they’ve done.

Trick Or Treat

Genre: Drama/Black comedy
Length: 3 – 4 mins
Synopsis: Two people at the start of a friendship/relationship/something share a beer, a cigarette, and a story about why one of their families hates Halloween.

Performance Notes: It’s not hard to pick up on the new-ness of these two characters’ relationship (the nature of which is yours to determine). Think about how you can explore the excitement of getting to know a new person, as well as the pain of sharing less positive aspects of one’s self and family history. As for Sloan’s story, this can be as funny or as devastating as you think it should be. We suggest a mix of the two.

Loch Ness Monster

Genre: Comedy/Drama
Length: 3 – 4 mins
Synopsis: A bickering newlywed couple confront their fears about each other and the future in a dingy motel room.

Performance Notes: There are a lot of emotions running high in this scene; resist the temptation to go completely over the top. The reason we like these characters is because they feel so human. Spend time working on their relationship and making this feel like a union that works—even though they express doubt as to why they’re together, you’ll need to have a firm reason in your head when you act the scene. And if you want to act this one out physically: please be careful when throwing a suitcase at your scene partner.

Some Fiction

Genre: Drama
Length: 5 – 6 mins
Synopsis: A novelist meets with their estranged parent, who was distraught to learn they’ve become a character in their child’s books.

Performance Notes: Take your time with this scene. As much is left unsaid, much is to be made of the pauses and hesitations that come from two people who aren’t gifted communicators. There’s plenty of room in the characters of August and Mason to play with their personality types, as well as the relationship they shared/share. As so much of this scene is centred around memory, it’s up to you to determine what really happened between them in the past. Was it as bad as Mason said it was? Or are they looking at history through a more critical lens? More importantly, what kind of people are they now?

Captain Oliver

Genre: Drama
Length: 4-5 mins
Synopsis: A recently separated couple discuss visitation rights.

Performance Notes: This scene almost tips over into comedy—in fact, there’s a strong argument for letting it play out as a deadpan, absurdist piece. However, the success of this story (and its ‘twist’) will come from how real these characters feel, and how carefully you can shed light on their shared history. What can you glean from their interactions, however short and distant?

Hutch & Bev

Genre: Comedy
Length: 4-5 mins
Synopsis: While fishing, Hutch accidentally reels a mermaid into the boat.

Performance Notes: This is, quite clearly, a scene that requires some stretching of the imagination. However, don’t lose focus of what makes a scene like this work: honest and truthful communication between these characters. Often, in theatre, we encounter fantastic settings or situations that couldn’t possibly be replicated on stage. The lack of a mermaid’s tail or boat shouldn’t sway you from attempting Hutch & Bev—rather, ask yourself how you can make the scene work with the resources you have.

A Mind for Strategy

Genre: Comedy/Drama
Length: 2 mins
Synopsis: Two co-workers discuss their professional qualities ahead of an important company merger.

Performance Notes: Of our theatre scenes on offer, this is easily one of the most ‘cinematic’: it lends itself well to quick rhythm and and precise delivery a la Aaron Sorkin or David Mamet. How can you bring an audience into this world? How can you make it right for the stage and not the screen (allowing it to fill a slightly heightened space)? As always, with comedy, work with making these characters feel real and justified—especially in the context of the ridiculous Eddie, who still needs to be a fleshed-out and sympathetic figure.

Distilled

Genre: Drama/Comedy
Length: 2-3 mins
Synopsis: A mother and son talk after a brush with the law.

Performance Notes: This scene suggests a rich and complex backstory between these two characters, as well as a larger world than what exists on these few pages. Sadly, this is not the case: the story of Sally and Ryan begins and ends in this scene and does not spill into some larger story. For actors, it is your job to make this scene feel like a snippet from their larger stories and arcs. What has come before? What do you think comes next? And how does this scene represent an important turning point in their relationship?

Sad In Photos

Genre: Comedy
Length: 3 mins
Synopsis: A couple on holiday discuss how they appear on camera.

Performance Notes: There’s lots to be done in the shared biography of these characters. Are they newlyweds? Are they trying to rekindle their romance? Are they truly in love, or grating on each other? Take the time to establish these facts with your scene partner, so that the resulting performance doesn’t feel to ‘surface’. As with other comedic scenes on this page, take time to play with rhythm. It’s fair to say that this scene has a slightly heightened style to it—but this should never come at the expense of truthful characterisation.

Chickens

Genre: Drama
Length: 2 – 3 mins
Synopsis: A couple, on the eve of a tree-change, contend with the worries of their family (as well as their own.)

Performance Notes: There’s not an obvious or overwhelming sense of drama to this piece. But there are stakes to be found, as well as conflict: this is perhaps because the characters have previously kept their worries to themselves. When performing this scene, think about what has remained unsaid until now, and why they have manifested in this particular moment. What held them back, or gave them cause to worry in the first place? These are things that are within your agency as the actor to determine, or even invent.

A/B Scripts for Actors

Y0u might not be familiar with A/B scenes outside of a drama class. However, when studying acting, they’re the kind of thing you become very used to working on and pulling apart within seconds. A/B scenes are short, context-less dialogues between two people—usually named “A” and “B”. They offer actors the chance to infuse text with new interpretations and meanings: use these to explore finding an objective and plotting strong actions, unencumbered by a larger story or context. Our recommendation is to be playful. Experiment with different scenarios, given circumstances and ‘moments before’ to find exciting new ways the scene might play out!

One More Thing

Genre: N/A
Length: 1 min
Synopsis: A doesn’t want B to worry about something, but they won’t get specific.

It Happened

Genre: N/A
Length: 1 min
Synopsis: A catches B up on a big development.

Do It

Genre: N/A
Length: 1 min
Synopsis: A wants B to do something. B knows they have to, but hesitates.

Turbulence

Genre: N/A
Length: 1 – 2 mins
Synopsis: A is going on a trip. B is nervous about it.

Catch Me Up

Genre: N/A
Length: 1 – 2 mins
Synopsis: A and B run into each other after a time apart.

Lost

Genre: N/A
Length: 1 min
Synopsis: A is searching for something. Be is not being helpful.

Remember

Genre: N/A
Length: 1 min
Synopsis: A wishes B to remember.

Leaving

Genre: N/A
Length: 1 min
Synopsis: A and B talk before leaving the house.

Embarrassed

Genre: N/A
Length: 1 min
Synopsis: A is embarrassed by something. B would like them to drop it.

Seat

Genre: N/A
Length: 1 min
Synopsis: A is sitting in B’s seat. How dare they.

News

Genre: N/A
Length: 1 min
Synopsis: A has big news for B, right before they make a life-changing confession.

Stolen

Genre: N/A
Length: 1 min
Synopsis: B has an issue with the way A has procured something important.

Showreel/Demo Reel Scripts for Actors

Depending on the kind of material you’re looking for, any of the above scenes could make for some great showreel/demo reel content. We would recommend one of the shorter scenes—or something that you could start in the middle or cut off at a point that still makes sense. Ideally, clips for your reel should be running to 1:30 max. When filming any of these scenes, be sure to credit the author. If you’re looking for specialised, copyright-free scripts that suit you perfectly: why not track down a writer and commission something? A short showreel piece is usually a quick job for a professional writer in the industry. They’ll talk over content, character, length—anything you want to tailor it to your particular brand. And after you pay for it: the piece is yours forever.

Finally, your other reliable option for copyright-free showreel/demo reel scripts is to write them yourself. It might be a daunting thought to write your own material, but no other process is quite so rewarding for an actor. Just be ready for a challenge…

Additional Free Script Resources

This is one of many pages on StageMilk offering free, original scripts. Take a look at our other offerings below:

• Practice Monologues for Actors
• Short Monologues for Actors
• Scenes for Three Actors
• Scenes for Young Actors
• Scenes for Four Actors

The post Practice Scripts for Actors appeared first on StageMilk.

Toi Whakaari: New Zealand Drama School

When researching where to study in New Zealand, Toi Whakaari will most likely pop up time and time again. While everyone will gain something different from differing drama schools, Toi Whakaari is often referred to as New Zealand’s most prestigious. They offer a three-year intensive course in acting all about developing you into what they call “A responsive actor”. As an actor in training at Toi Whakaari, you will work across screen and live performance in class, studio and full productions. You will work solo, in an ensemble and in collaboration with other training artists across other disciplines in the Kura.

“Toi Whakaari’s actor training is built around the concept of Tūrangawaewae – developing your unique place to stand as an actor and artist.”

First Year: Tūranga / Second Year: Raranga / Third Year: Waewae. For more information surrounding Tūrangawaewae, check out their website.

Toi Whakaari, is a bi-cultural drama school, what this means is Toi Whakaari acknowledges Te Tiriti o Waitangi: The Treaty of Waitangi as the foundation document of the country. To honour the Treaty, the School instils an awareness of the culture of Aotearoa in its diversity and history while initiating awareness of the school’s responsibility for sharing and furthering Māori culture. Through the lens of a Treaty Partnership, the school will continue to explore and celebrate the theatre, dance, film and performing arts of other cultures and races of Aotearoa. The diverse origins of immigrants over the last 50 years enriches the intake of students and expands the studies and productions within the school. 

Course Length: 3 Years
Location: Wellington/Te Whanganui-a-Tara

NASDA: Ara, Institute of Canterbury

One school, you may not come across as easily, is NASDA at Ara, Institute of Canterbury. While this isn’t strictly an acting course per se, we thought it deserved a mention, particularly if you are interested in Music Theatre. NASDA offers a three year Bachelor of Performing Arts in Music Theatre. Your first year here is all about foundation and learning the key theatre disciplines you need to branch into any arm of the performing arts. In your second year, however, you begin to define your own pathway, choosing whether to specialise in MT or more broadly into the performing arts. Finally, the third year at NASDA is mostly practical, assessments are made up mostly of performances in practice that allow you to refine what you’ve learned into your process.

Course Length: 3 Years
Location: Christchurch/Ōtautahi

Victoria University of Wellington

Victoria University of Wellington has a learn by doing approach. In this three year BA you will have a holistic training ranging from acting all the way to production design. This school is ranked in the top 1% worldwide.  

“Learn how to express yourself through telling stories. You’ll be encouraged to experiment and build your self-reliance and resourcefulness—and the emphasis on teamwork, collaboration and leadership will build your communication and people skills.”

Their staff work in the industry both domestically and internationally as directors, playwrights, and designers. They also believe that research and teaching go hand in hand, so students will often collaborate with their mentors on projects. Whatever path you choose to take we think this school will develop you as a well rounded, holistic performing artist.

Course Length: 3 Years
Location: Wellington/Te Whanganui-a-Tara

The University of Auckland

The University of Auckland’s Bachelor of Arts in Drama, like many theatre studies, is based on text, and what can be given and received from it. Their BA program offers everything a regular BA would however as you go through your training you can choose exactly what path you take. This can take you into acting, writing or directing. Should you choose to focus on Acting, your studies will culminate in a full-scale production at the end of the course.

They also offer a postgraduate course in Drama which focuses more on the theory and academic research of Drama and can lead you down a number of study paths such devising, dramaturgy all the way to theatre on screen. Check out their website to see the full range of studies on offer.

Course Length: 3 Years
Location: Auckland/Tāmaki Makaurau

The University of Waikato

The University of Waikato’s Theatre Studies course takes place at the Gallagher Academy of Performing Arts. They have a hands-on approach to actor training with an undercurrent of critical theory. They’re armed with a number of different theatres and performance spaces which you would spend the predominant time of your training in.

One of the central themes of their training is their focus on the performing arts as the living, breathing, evolving creature that it is.

Course Length: 3 Years
Location: Hamilton/Kirikiriroa

The University of Otago

The University of Otago operates relatively similar to any other acting course, however, there are certain things that make it just a little bit different. You will study acting and theatre studies, and devising; from Shakespeare to DADA. However, the difference is at Otago your course load is somewhat hands-off. “How can that be a good thing?” I hear you ask. Well, what Otago lacks in hours on the floor it makes up for in a thriving extra-curricular theatre community within the university. So really your own acting training is in your hands. Of course, you aren’t credited for what you do outside of class but that doesn’t matter because you are learning, learning, learning through application, failure, and success. But don’t just take my word for it, take it from someone who went through the course: Alumni, Andrew William Coshan:

“But at Otago university, you have far more time off between classes. There is a thriving extra-curricular theatre world attached to the uni. You don’t get credit for any of it, but there is so much to do and to be in and to audition for. So you can be lazy and do none of that and still get your degree, or you can immerse yourself in it and you’ll come out a far better and more experienced actor. It gives you room to do more if you’re hungry and rewards you for that in skills and experience rather than university credits.” – Andre William Coshan (A View from the Bridge MTC, Hamlet ASC, Merrily We Roll Along TPC)

I think Andrew puts it pretty nicely, don’t you?

Location: Otago/Ōtākou
Course Length: 3 Years

Conclusion

So hopefully this list will help you to narrow down where you might like to train. Again, as Andrew put it so eloquently, when it comes to Performing Arts training you really only get out what you put in, and the place you’ll get the most out of is the one that’s right for you. For more information on any of these courses check out their websites!

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