>> On Sat, 18 Sep 2010 17:01:47 -0400, Joseph DeMartino wrote   
   (in article    
   <5d498fa3-494d-471f-b28c-a014b31132c3@c21g2000vba.googlegroups.com>):   
   > On Sep 17, 9:48 pm, Amy Guskin  wrote:   
   >    
   >> That irked me, too.  I assumed the comment was Jerry's, not Joe Chicago's.    
   >>  I   
   >> guess if you're a dabbler rather than a professional who has worked years    
   >> at     
   >> your craft, the rest of the script wouldn't concern you.   
   >    
   > I think the part of the alleged quote that caused Doyle to use the   
   > word "delusional" was that about needing "the code" rather than   
   > O'Hare's method of learning lines.   
   >    
   > In any case there is nothing unusual about actors - professional or   
   > otherwise - paying attention only to their own parts.  (And, as you   
   > certainly know, the practice, especially in musical theater, is often   
   > to give some actors only "sides" containing their own scenes rather   
   > than full scripts )  There's also nothing unusual about some actors   
   > going through the whole script only for the purpose of counting up how   
   > many lines they (and others) will have.     
   >    
   > Someting missing from most of what I've read of this thread (and I   
   > confess I haven't look at every post) is the difference between   
   > television or film acting and acting for the stage, which not everyone   
   > here understands well. <<   
   Oh, there are people here who understand that perfectly well.   
   >> Plays are peformed in sequence, over the space of a couple of hours at   
   > most.  The action is concentrated and actors are never more than a few   
   > feet from the stage, and they generally listen attentively for their   
   > cues.   
   >    
   > A two hour film will be shot out of sequence, over a period of months   
   > or longer, a one hour TV series episode also out of sequnce, over a   
   > period of only a few days, with the next script going before the   
   > cameras only a few days after that.  In both cases it can make   
   > sense .for actors to concentrate on their own parts. <<   
   No doubt, and as Caryn said, different actors use different methods.  I think    
   that what made many folks bristle was the dismissive way he referred to    
   O'Hare's style.  And I don't think asking for "the code" is all that crazy,    
   especially if you're working in an auteur-style situation.   
   Another reason theater actors might be more apt to know their fellows' lines    
   is...because they have to listen to them, night after night.  I spent many a    
   Mikado backstage throughout the entire first act, waiting to come on (as    
   Katisha), and memorizing every scrap and tittle of what the other actors said    
   (and sang).   
   Amy   
   --- SBBSecho 2.12-Win32   
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