Naturalness and Sincerity. When you speak lines from a play inject as much naturalness and sincerity into your delivery as you can command. Speak the words as though they really express your own ideas and feelings. If you feel that you must exaggerate slightly because of the impression the remark is intended to make, rely more upon emphasis than upon any other device to secure an effect. Never slip into an affected manner of delivering any speech. No matter what kind of acting you have seen upon amateur or professional stage, you must remember that moderation is the first essential of the best acting. Recall what Shakespeare had Hamlet say to the players.
Nor do not saw the air too much with your hand, thus: but use all gently; for in the very torrent, tempest, and, as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness. Oh, it offends me to the soul to hear a robustious, periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumb-shows and noise.
Character Delineation. In taking part in a play you must do more than simply recite words spoken by some one other than yourself. You must really act like that person. This adds to the simple delivery of speeches all those other traits by which persons in real life are different from one another. Such complete identification of your personality with that of the person you are trying to represent in a play is termed character delineation, or characterization.
You may believe that you cannot represent an Indian chief or a British queen, or an Egyptian slave, or a secret service agent, but if you will recall your childish pastime of day-dreaming you will see at once that you have quite frequently identified yourself with some one else, and in that other character you have made yourself experience the strangest and most thrilling adventures. When you study a rôle in a scene or play, use your imagination in that same manner. In a short time it will be easy for you to think as that other character would. Then you have become identified with him. The first step in your delineation has been taken.
Visualize in your mind's eye—your imagination—the circumstances in which that character is placed in the play. See yourself looking, moving, acting as he would. Then talk as that character would in those circumstances. Make him react as he would naturally in the situations in which the dramatist has placed him.
Let us try to make this more definite. Suppose a boy is chosen to act the part of an old man. An old man does not speak as rapidly as a boy does. He will have to change the speed of his speech. But suppose the old man is moved to wrath, would his words come slowly? Would he speak distinctly or would he almost choke?
The girl who is delineating a foreign woman must picture her accent and hesitation in speaking English. She would give to her face the rather vacant questioning look such a woman would have as the English speech flits about her, too quickly for her to comprehend all of it.
The girl who tries to present a British queen in a Shakespeare play must not act as a pupil does in the school corridor. Yet if that queen is stricken in her feelings as a mother, might not all the royal dignity melt away, and her Majesty act like any sorrowing woman?