ORGANIZATIONAL TIPS:
- choose the appropriate skit or drama
. - find out the purpose, or the topic or scripture being used
. by the pastor or ministry leader
. - find out when this should be
. - find out how much time you will be given for the actual performance,
. this will determine if it is a skit or a drama
. - search for skits under either topic or scripture,
. search for dramas under topic (yellow box)
. - get the pastor or ministry leader to approve of the choice if required
- make a schedule for practices and dress rehearsals
. - depending on the size and difficulty of the project,
. short skits typically need 2 to 4 rehearsals (some need more),
. big dramas/musicals typically need 3 to 4 months
. with 1 to 2 practices per week. Then:
. 2 days of technical run-throughs to work out sound and lighting,
. and 2 days of full dress rehearsals right before performance night/s
- reserve the sanctuary/theater/room for when it is needed (if required)
. (do not forget about practices and dress rehearsals)
- schedule the sound and lighting people, as well as the equipment,
. for times of the last run-throughs, dress rehearsals and performance/s
- schedule video-tographer if you wish to record one or two performances,
. (you may even want to record a rehearsal so actors can see themselves
. and get an idea of where to improve)
- obtain any music you need, and get appropriate permission if required
- schedule your musicians and music director if required
. (usually if there is an orchestra, they will practice on their own
. until the run-throughs, dress rehearsals and performance/s)
. - make sure you have a recording or a pianist at practices when needed
. - have copies of all songs made on CDs and/or sheet music
. for actors to take home to use for practicing (if rights allow this)
- hold auditions if necessary
. - make sure you have recordings or a pianist ready if needed
. - let people know the practicing and performing schedule
. so they will know if they are able to make the commitment
. - if it is a big project, choose lines and/or song portions for each role
. - announce the role (part to be read and/or sung)
. and have the people line up who want to try out for that,
. then move on to the next role, etc.
. - keep notes as to who sounded good in that role
. - if you want to see who plays well off of each other,
. or if you can't decide between a few people for a certain role,
. hold a callback and have the best options from each role
. read/sing a few other portions or read through an interacting portion
. - choose the right person for each role
- plan and build the set/s
- collect props in time for actors to practice with them to work any issues
- collect or sew costumes, and make sure they fit and work
- advertise, print posters and tickets
. (even if the event is free, it is a good idea to have tickets
. for people to take in order to know you will have room for everyone.
. If your auditorium seats 1,000, print up about 8 - 900 tickets,
. some people may show up who do not have tickets.)
- DO NOT BE AFRAID TO DELEGATE
. (the bigger the project, the more people you will need, example:
. director, song director, choreographer, stage manager, promoter,
. set manager, prop manager, costume manager, hair and make-up artists,
. qualified babysitters...)
DIRECTING TIPS:
- choose people who best suit the roles in the skit
. - in a lot of my skits I have left the characters gender-nonspecific,
. just make sure the lines and names go with your actors' genders
. - in a few skits, I have chosen a gender, but they still could be changed
. - others are very specific and should not be changed
. (it is left to your discretion)
. - meant for everyone to get familiar with the material and words
. - explain the meaning and impact behind each action
. so actors will know what emotions they need to use
. and which words they should maybe emphasize
. (let them know of the acting tips-see below)
- have everyone read through the skit over and over
. until they are comfortable with their lines and expressions
. (they should be working on memorizing lines at home, but if they are
. having problems, maybe hold an extra workshop to help them out)
- "block" movements for lines as well as choreography for songs:
. - step by step, show the actors where they will be standing
. and what they will be doing throughout the lines or song
- do a slow run-through with the lines and the blocking
- work out any rough spots
. - you can either stop at every spot and explain,
. tweaking the lines or movements as you go, as long as it isn't too often
. - or you can take notes during run-throughs and read the notes afterward
. or send them via e-mail so they can remember to do these the next time
. - try to be positive and encouraging as much as possible
. maybe even have one day of notes only pointing out all the things
. that are really good so people can see what to aim for overall
. - once in a while it may be necessary to work a tiny part over and over
. until it is smooth, especially if it has tricky timing issues,
. and in that case you may even want to go through it slow-motion at first
. and then pick up the pace
- keep running through until smooth and ready
BLOCKING TIPS:
- I try to write each skit with blocking in mind so it is fluid and natural
. - figure out the best way to block the action
. so that people are not moving in front of each other,
. unless it helps to make it visually interesting or add to the drama
- make sure that people speaking or with important facial reactions are
. facing forward or slightly angled, especially if they are not mic'ed
. - the actor can look at the person they are addressing,
. then face forward to keep speaking out to the congregation
ACTING TIPS:
- try to be as professional as possible
. (this will help practices to go a lot quicker with less frustrations)
. - turn your cell phones off
. - save the chit-chatting for afterwards
. - at home: memorize your lines/songs as soon as possible and
. go through your lines/songs with blocking and choreography everyday
- listen to the director and try as best possible to do as they say,
. - they can see how your acting is coming across
. - do not take instruction personally, but consider it a way to learn,
. improve, and be the best possible to God's glory
- speak slowly, clearly, loudly if you are not mic'ed
. - the people in the back should be able to hear;
. - like watching TV or film, if you can't hear the words, it's pointless
. - remember that this is a very important ministry,
. a lot of people learn best "visually", through examples,
. so you are in a sense "preaching" or "teaching"
- in MOST dialogues, especially in dialogues that are arguments,
. before the other person has finished speaking their sentence, butt in,
. overlapping just slightly (naturally)
- silent gaps between lines should only be used if it lends
. to dramatic effect (if it makes sense)
- do not distract from the main focus of the skit
. - if someone has an important line, do not do anything that would
. take away from the impact of the lines/skit
- face forward, or slightly at an angle, especially when speaking
. - before speaking, if you look at the character you are addressing first,
. then turn toward the congregation, the congregation will know
. to whom you are speaking
. - on rare occasions, a skit may call for some unique blocking
. like facing away from congregation and screaming, etc.
. OR speaking - IF the actor is mic'ed.
- the people must always know the message you are trying to bring across
- acting on stage requires that you exaggerate your speech and actions
- acting on video or film requires that you minimize your speech and actions