READER'S THEATRE
The following is an excerpt from the college text "Oral
Interpretation" by Charlotte I. Lee and published by Houghton
Mifflin Company. The suggestions throughout the main body of
the book are excellent for training your performers in performance
techniques. I will make further comments based on personal observations.
"In recent years there has been an increased interest in group interpretation of drama, sometimes referred to as Readers Theatre. Readers Theatre uses all the techniques we have been discussing for the individual interpreter. The difference is that a separate interpreter takes each role just as in a fully staged production. Though each interpreter is responsible for only one character,*1 he must, of course, make a thorough study of the entire play so that he is aware of relationships and of the contribution of each scene to the total effect.
"There is no "one way" to do Readers Theatre. The cast and the director must always be guided by the demands of the selection they are using. Many directors place the readers on stage in groups suggesting the psychological relationship of the characters. They may be either standing or sitting, in chairs or on stools. Some use reading stands; others do not. If reading stands are used, they must not be so high that they obscure the view for the people in the front row. Manuscripts may be placed on the stands or held in the hands just as in individual interpretation.
"Some directors prefer to play the scenes in Readers Theatre with the focus on stage rather than out front as is done in individual readings.*2 The on-stage focus allows the characters to move about the stage area much as they would in a fully staged production. This technique has been used in some very successful productions, but it should certainly be reserved for a highly experienced cast or for experimental purposes. Otherwise the production can look like a dress rehearsal in which the cast has not yet learned its lines, since the participants usually carry their books and refer to them from time to time.
"The more usual procedure is to keep the scene out front and specific action at a minimum. It must be remembered, however, that empathy and muscle memory are as important to group work as to the single interpreter of drama. The members of the cast do not stand like wax figures behind the reading stands. They may feel free to move about the stand as the individual interpreter does.*3
"At first the technique of playing the scene out front despite the use of separate readers for the various parts may feel awkward and artificial to the actor accustomed to playing on stage. He is naturally tempted to turn and look at the person whose speech he is answering, but doing so brings the scene up on stage. It is often helpful during the rehearsal period to divide the cast so that half of them are working at the back of the auditorium and the members on stage can address them directly.*4 After a few rehearsals the positions can be reversed. This encourages good visualization and directness. When all members of the cast are again on stage, they simply remember how they handled the scene when the other characters were at the back of the auditorium and continue to visualize them there.
"Since the interpreter in Readers Theatre
is handling only one role, he need not be so concerned about
angle of placement*5 as he would be if he were handling several
characters. He may feel free to use the whole back of the house
in dialogue, allowing the angle of focus to shift according to
whom he is addressing. If he is playing a scene with a character
whose interpreter is on his right, he will turn slightly in that
direction, for instance. The angles of focus on the characters
addressing each other will cross about two-thirds of the way
back in the auditorium.
"Entrances and exits may be suggested effectively in several
ways.*6 Usually the reader does not leave the stage when the
character for whom he is responsible exits. Nevertheless, the
audience must know who is present during the various scenes.
If the readers are to stand during their scene and be seated
when they are out of scene., entrances become very simple. Each
reader simply rises in character, assuming whatever pysical characteristics
will best suggest his character. He brings his attention into
sharp focus by visualizing the action and other characters out
front. If the cast is to remain seated, a lift of the head and
widening of the circle of concentration will achieve the desired
effect. If the stools revolve, a reader may turn slightly away
from the audience until the entrance of his character, at which
time he faces front and either remains seated or rises. Exits,
of course, can be handled in the reverse of any of these ways.
With a large cast it is often more practical to have most or
all of the readers seated well upstage and bring them downstage
to handle their scenes. Readers may also enter from and exit
to the off-stage area. Practical considerations such as the size
of the cast, the area available for staging, and the number and
length of scenes will influence the decisions on all these matters.
"However the entrances and exits are handled,
timing is extremely important, as are muscle tone, the "sense
of performance," and empathy. If the entrance is a sudden
one, the reader will rise quickly and "take scene"
in the mood of the lines he is about to speak. For such an exit
he will sit or turn quickly and then "drop scene."
When the character for whom he is responsible is offstage, the
reader remains absolutely quiet with his head slightly down so
as to resist the temptation to look at the audience and draw
attention to himself. He narrows his circle of concentration
so that he is, as it were, mentally isolated. Of course, he must
be careful not to become so comfortable in his isolation that
he is not ready for his cue. When he "takes stage,"
he widens his circle of concentration to include the entire audience
and directs his thoughts and voice to the back of the auditorium.
His exits reverse the procedure. This change in mental directness,
and consequently in physical and vocal projection, is an extremely
important part of Readers Theatre technique. When it is neglected,
the audience is distracted from the scene in progress.
"Drama in which the literary style is especially strong
adapts itself well to Readers Theatre and can often be used exactly
as written. Greek dramas are especially effective. Plays with
a great deal of stage business are more difficult to handle.
When explanations must be made, many directors use a narrator
at one side and in front of the proscenium who speaks directly
to the audience in his own person. Such a device is very effective,
but it must be carefully timed and coordinated in mood so that
the narration does not break the dramatic progression. Most play
scripts will need little or no alteration for a readers Theatre
production.
"Though a pleasing stage picture is valuable in Readers Theatre, scenery, costumes, and makeup may be kept at a minimum.*7 It would be impossible to cover all the examples which might be considered because each play and each cast will have its own requirements and limitations. On the whole, it is safest to remember that in Readers Theatre, as in individual interpretation of drama, the speakers are not attempting to look like the characters, but rather to project the mental and emotional complexities of the charaacters so that the audieence will create the scene and action in their minds. It is wise not to place too many obstacles in their way, however. Medea in a cocktail dress might be unduly distracting and ask more adjustment of the audience than is wise.
"Although we have been discussing Readers Theatre as group reading of dramatic scripts, the term itself is popularly used to include as well programs in which several readers present an integrated thematic montage of selections. It is still a new mode of performance and allows for a great deal of flexibility.
"The Interpreter should not make the mistake of thinking that Readers Theatre takes less time and effort on the part of the participants than a fully staged production. The interpreter must be as well prepared as the actor. Since he will have his manuscript before him, whether he memorizes his lines or not is unimportant.*8 Nevertheless, he must be completely in control of all the elements of the entire play and alert to the contribution his scenes make to the total performance. Though difficult and challenging, Readers Theatre is an effective and satisfying technique".
Comments and additions by Jim Pappas
*1. Although this is one way to do it I seldom assign only one part to each reader. We have at times had a group of five perform plays that had eighteen or twenty parts. It keeps everyone hopping and much more involved and thus happier. However, if there is one main character who appears in nearly every scene in makes good sense to have one actor take that part.
*2. I never personally use this variation because it distracts beginning actors and turns their faces away from the audience. One of the most powerful features of Readers Theatre is that we can look each actor directly in the face and read his emotions much more clearly.
*3. I have found that the actors can use mime as a very powerful enhancement to Readers Theatre. Opening doors, picking up or handling imaginary objects ect., add visual interest to any scene.
Two actors can "interact" in the mind of the audience thusly: Actor 1 may hand an object to actor two by reaching out into the audience and dropping the object into the hand of actor 2. Actor 2, of course has his hand stretched out towards the audience with palm upturned to receive the object. When 1 releases 2 grasps. If there is weight to the object the hand of 1 rises slightly to suggest weight released while the hand of 2 sinks slightly to suggest weight received. The same technique can be employed in a multitude of ways very effectively. Bear in mind that their hands follow their focus which is out into the audience. Their hands never actually come near each other.
*4. I have never used this method since most of my performers have been beginners and don't have very much to unlearn.
*5. Angle of placement is very important. If two actors are addressing each other offstage they incline their eyes slightly towards each other so that their lines of vision cross about 2/3 of the way to the back wall. If there are two readers to my left I would look near the left third of the rear wall for the one nearest to me and near the left back corner for the one farther away from me. If these two are talking to each other I would shift my gaze back and forth between the two focus points so that the audience can see that I am actually "looking" at my two friends. If I were the center reader I would look slightly left when one spoke and slightly right when the other spoke. The audience notices and likes the non speaking performer to still be involved like this even though silent.
*6. There are many ways to indicate entrances and exits. Stand/sit, head up/head down, turned towards/turned away from the audience, walk in/walk out, lights on you/lights off of you, hands down/hands in front of face. etc. ad creativity infinitum.
*7. In my productions I use no make up, no scenery and few if any props. We sometimes use a piece of clothing (such as a shawl or pinafore) which performers add or remove to indicate a change of character.
*8. To memorize or not to memorize? Whether fully memorized or not, one needs to at least know each individual speech well enough to deliver it without looking down at the manuscript. While the other actor(s) are delivering their lines we can glance down to refresh our memory regarding the next line.
When I led our collegiate drama group we chose to memorize our lines and perform without scripts on stage. However, we still used the off stage focus which forced mental participation from the audience. I believe this adapted Readers Theatre technique blends ease of production with powerful performance.
What about lighting, sound effects and music? If you can carry a portable lighting system with you it certainly gives you a degree of finess and control usually not available. Our group carried two large poles that would telescope to about 12 feet and carried 6 theatre lights. 2 broads, 2 mediums and 2 spots. We had a dimming board that individually controlled each of the lights. We used color gels and the overall effect was helpful. However, all of these benefits must be weighed against the expense of such equipment, the problems of transporting it and the hassle of set up and tear down. It will add about an hour to each end of your performance. There were times when we carried our gear with us and then, depending on time constraints and energy levels would use or not use it. The overall effect on the audience didn't seem to change in either case. My recommendation is to forego lighting effects completely or to use 1 or 2 simple 500 watt floods on a dimmer.
Regarding music and sound effects - I use them whenever I can. They can set the mood to a wonderful degree. Sound effects can be created live or be recorded. Often you will find someone who is good at making all types of sounds using nothing but his/her voice and a microphone. You can also use recorded sounds. Same with music. We have used live keyboardists and prerecorded soundtracks that we have commissioned. Its especially nice to find a budding musician/composer who just wants the experience and the exposure and will do it at cost or for nothing at all.
We also used 2 or 3 projectors for our large productions to open the program with music and slides. Here you can run your titles, credits ect. You can also tell part of the story visually at times. Very effective but, of course, more work.
In conclusion - In my opinion Readers Theatre gives
the most bang for the buck. It takes a new audience a few minutes
to figure out off stage focus but once they do they're really
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