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Lesson: Directing Actors Through Subtext

"I'm not asking you, I'm telling you. Who's on first."

Bud Abbot

This lesson uses ambiguous dialogue to explore subtext, character motivations, and emotional tension, encouraging thoughtful and nuanced performances.

This is one of two lessons that use ambiguous dialogues.  In this lesson, the focus is on how a director can manipulate a scene by directing actors rehearsing lines.  A different lesson, (here), involves the whole crew in using the ambiguous dialogue as a basis for learning how to shoot a scene.

Tip: Both of these lessons can be used in sequence.  The first one can be used to introduce the director's role in performance and blocking.  In this lesson, directors could lead their teams to explore different techniques.  In the second lesson, they could take it further and film the sequence.  This is also a good opportunity to learn triangle coverage and learn to shoot a dialogue scene.

Objective

Students will learn that they can direct actors using ambiguous dialogues to enhance character depth, subtext, and nuance.

Materials Needed:

  • Copies of ambiguous dialogues (printed or distributed digitally)
  • Space for rehearsals (classroom or theater)
  • Props (optional, for added context)

Steps

Part One: Introduction to subtext (10 minutes)

  • Begin with the following video about subtext:


What Dalla Santa is describing here can be practiced through the Meisner Technique of listening and repetition.  There are many approaches to directing performance, but this technique is particularly good for working with non-actors; it involves repeating the same word or phrase back and forth between two performers.  It should aim to be serious, but will often become silly; when it does (and it should) it can be redirected back to seriousness.

In this first example, Christoph Waltz demonstrates the Meisner technique solo:

However, for our purposes, it is better to have students who are unfamiliar with this process work together as Allison Janney and Sam Rockwell demonstrate below (although it would be helpful to do it for longer and get to a more serious intentionality in their rapport).

  • Have students pair up and try the Meisner technique together. You may start with some silly words to get past some of the awkwardness and then try something a little more serious.  Starting silly is a good way to break the uncomfortabilty of performing in front of each other.  You might want to demonstrate.   Try each word for about a minute.  Let the students know that we'll start with more silly words and slowly get more serious. However, they should try to say the silly words seriously too.
    • Silly
      • Jello
      • Babaganoush
      • Alfredo Sauce
    • Semi-serious - remind them to pause and take time between words.
      • What was that?
      • I don't understand.
    • Serious
      • I'm sorry you feel that way.
      • Why would you say that?
  • If some students can't get to a point at which they are varying the tone it might be helpful to get a pair that has done it well to demonstrate for the class.

Part Two: Ambiguous Dialogues (15 Minutes)

  • Randomly give out peer groups copies of an ambiguous dialogue.  This pdf has 7 to choose from. If you have more than 14 students it is fine to give multiple groups the same dialogue.  It might even be beneficial to do this purposely so that students can see how different interpretations greatly alter the performances.
  • Ask two students to demonstrate the same Meisner repetition technique, but this time, line by line until it feels 'right' to them.  So that they can 'feel' the line delivered correctly.
  • Each pair of students will practice one of their dialogues together.

Part Three: Directing Subtext (10 minutes)

  • Reallocate students into groups of three - two actors and one director.
  • Redistribute Dialogues.
  • Directors choose two of the following traits, one for each actor in their group. You could also print these out and randomize them:

Bored & distracted

Hiding sadness

Curious

Overly Interested

Trying not to show frustrationConcealing guilt.
AnnoyedWanting to pleaseTrying to impress
Wanting attentionWanting to be left aloneAfraid of the other person

Link to .PDF version

(for easier printing)

  • Directors will lead the actors through the Meisner technique to get a performance in which the actors need to communicate their subtext.

Part 4: Performance and Feedback (10-30 minutes depending on group size)

  • Regroup the students for a quick performance - there are two ways to approach this (time is a consideration, as well as the confidence of the students to perform publicly.  The performance can include either:
    • A performance of each group's full scene to each other.
    • A performance of each actor to say just one of the lines in their performance with the proper subtext.
  • After the performances, ask the students (who are not performing) what they thought came through the subtext.
  • Wrap-Up Discussion:
    • Reflect on what was learned about directing through subtext.
    • Discuss how these skills can be applied to future directing projects.
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