Joe Chicago wrote:   
   >> Interesting.  However, I do take exception to your statement that actors   
   >> only look at their own lines--bad actors may do that, but not anyone   
   >> with any respect for themselves, the profession, or the writers.   
   >>   
   >> Humph.   
   >>   
   >> Blair   
   >    
   > I have heard both Doyle and Claudia Christian say they used that   
   > technique. Christian says that's why it's silly to expect her to   
   > repeat her "God sent me" soliloquy; after the shooting she forgot it.   
      
   That's a somewhat different discussion.  I don't think it's at all    
   unreasonable to expect an actor to forget lines/scenes/etc after    
   production has wrapped; the chances of needing that information again    
   while in line at 7-11 is pretty low.  That really doesn't have much to    
   do with not reading the entire script.   
      
   > Doyle does say if he's in the scene, he will study the other person's   
   > lines, so if that person doesn't remember their lines he can say   
   > things like "If you want me to, I will X, Y and Z," and the other   
   > person doesn't have to tell him, saving time and money.    
      
   Also a different discussion--of course you need to look at the other    
   person's lines in your scene; not the same thing as not reading the    
   entire script.  Besides, you need to know what your cue lines are. I    
   can't think of any actor who could do any work without knowing what's    
   going on in a scene they're in.   
      
   What you seemed to be referring to in your original post is an argument    
   that I've heard many times in many places--that actors are so    
   self-centered that they're only interested in what they're actually    
   involved in.  As I stated, this may be true of a certain class of    
   actors, but not the ones who last or who provide insightful    
   performances.  Woe be to the actor who notes that they only appear    
   starting on page 34, look at only that material, and fail to realize    
   that pages 1-32 are all about them as well (page 33 is the subplot    
   involving the comic relief).   
      
   You do need to know the context of the piece.  This is why shows have    
   table reads where everyone involved in the production experiences the    
   entire script.  Once everyone has the context then, sure, you will focus    
   on your part alone.  You will, however, have some knowledge of how you    
   fit into the larger picture.   
      
      
      
   > Technique-wise, the character is not supposed to be omniscient, so it   
   > makes a certain sense that they don't read everybody else's lines.   
      
   The character may not be, but the actor is in this sense.  Most actors    
   (like most jurors) should be able to ignore information that isn't    
   pertinent (or contradictory).   
      
   Again, humph.   
   --- SBBSecho 2.12-Win32   
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