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       The following is a first attempt, as far as the editors know, to place on paper some of the methods, skills and philosophy of Small Scenes as a recreational tool. Our hope is that the section will be thought-provoking and stimulating for those who have participated in small scenes at ECRS or in the community, and will in addition provide written guidelines for those ECRS students who wish to lead Small Scenes. (It is not intended to be a leadership guide for those who have not experienced this medium.) If you have not taken part in Small Scenes at ECRS, and are drawn to explore this activity by what appears here, we recommend that you attend ECRS and participate before attempting to use this material as a leader.

       Many years of dedicated labor went into the processing of small scenes which have become the ECRS script file. The work on a scene begins when someone is touched by the human qualities of the characters or situation in a portion of a play. The unfolding drama of a scene involves that someone through watching, reading, listening and discovering. A combination of empathy and objectivity leaves room for sharing with others what was felt.
       Jim Norris was a master at cutting scenes, and he transferred this interest and skill to many at ECRS. The scenes shape themselves so that the depth of characterization presents fantastic action/reaction opportunities. Quality was not measured by the number of lines per character, but in the opportunities for the actor to learn to use the voice, the open eyes, the facial lines, the back, the arms and hands, the legs and toes, full body/mind involvement. And silence, the quiet spaces that accent that which has already occurred and that which is to come!
       A good script permits each person to discover the depth of his or her assigned role in a relationship to others in the scene. The scene becomes a slice of life, another time, another place with other people who are believable.
       No written cues were included in the professional half-page scripts. If a telephone was to ring and cause a character's response, it happened out of the understanding of the dialogue and the feelings of the characters as derived from the dialogue. Listening became prominent as it was transposed into response.
       When a script is in use, the setting is described by someone familiar with the entire play. The events before and after the scene are made known to the actors so that content and mood of the scene is true to the dramatists intent.
       The moments that a person can spend within the life experiences of another can be happy or sad, ridiculous or serious, brief or elaborate, but definitely human. Gentle conversation, tender moments, verbal fights, hands-on pushing and shoving are many parts of human interaction found in the material in the script file. Therein lies the treasure: vignettes that stand alone due to the wholeness of scenes cut from plays of high quality.

       The first Small Scene that I was in is from "Family Portrait" and takes place in the Holy Land at the time of Jesus. Jesus travels through the countryside, speaking to crowds of people and healing. His mother, Mary, is eager to learn more about his work and the effect he has on those who hear him, so she travels to a town where he is about to speak. At an inn she eagerly questions some of his disciples.
       The scene focuses on one such conversation. The disciple recounts wonderful stories, full of love and admiration for Jesus. When he is about to leave, Mary asks him his name.
       I was playing the part of the young disciple. Aware of later historical events, when Mary asked my name I proclaimed loudly, in what Pat Emerson would have called pear-shaped tones, "Judas Iscariot!"
       Ruth Norris was directing the scene. She stopped the action, ran onto the set, and said to me in a conversational tone, "By the way, what's your name, honey?" "Sy Kantor," I replied in a normal tone. And I understood immediately how Judas Iscariot would have replied to Mary.

       "Try Small Scenes"
       "Me?"
       "You'll like it."
       "But I've never done anything like that before."
       "Enjoy being on stage?"
       "Well. . . . maybe."

       I did try Small Scenes at ECRS, first at weekends and then at summer school. I was drawn to it for a number of reasons. There is an assumption that each one of us has a well of creative potential within us which can be expressed in acting. We accept that creative potential and do not compare our acting to a famous actor or actress. It does not matter if we act like Marlon Brando or Helen Hayes. It does matter if we enjoy our experience and are able to tap our creative potential. We do this (or try to) with a small group where each member is a peer, in an environment which is accepting and supportive.
       Along the way I have been encouraged and taught by Dotti Siftar and Eddie Mover. Much of what I have learned about acting and directing comes from them. In addition, Eddie was my "mentor" at ECRS for Small Scenes.
       Eddie had clear expectations for behaviors such as lateness. The guidelines and rules were spelled out, and he would let the class know if he felt that they were not meeting their commitments. Through it all he expressed a genuine excitement and joy about dramatics.
       In particular, he saw a potential for creativity in Jimmy Norris's ideas and techniques about dramatics. It was those concepts which Eddie taught and also vigorously defended. During a class he would support, some would say stubbornly, those rules which were taught by Jimmy Norris. Yet, it was clear over time that Eddie listened to class members, evaluated their concerns and implemented changes which maintained the integrity of the principles.
       Eddie was a professional. He was confident in what he had to contribute even if it didn't come out quite right every time. Despite the respect he received from others, he never took himself so seriously that he couldn't laugh at himself. He was an expert but he forever remained a peer.
       The following is an attempt to describe some of the concepts which are used in Small Scenes at ECRS. My words, Eddie's ideas.

1. "Get on your feet."
   We act by doing. We learn who the characters are by being those characters. It is tempting to talk about a scene. It is also safer. To be angry at someone, to cry, to show love and affection is a challenge and can be scary. When we talk too much about a scene we are avoiding the scariness; the sooner and more frequently we "get off our backsides," the easier it becomes and the more capable we are of meeting the challenge and of overcoming the fright.

2. Interaction among the actors.
   The actors search for their own characters as they interact with the other characters in the scene. Each character picks up cues from other characters which help him to develop his identity. If another character cries, laughs, hugs me, throws something at me, what does that behavior say about my character and how I should respond? The interaction among the actors thus helps each actor to develop more fully.

3. Motivation.
   Every character in a scene has a reason for being. The actor has the responsibility and need to understand the character's motivation. This understanding helps to explain the character's behavior, which in turn helps the actor to act. Understanding a character's motivation helps an actor to read a line, to move on stage, to interact with other characters and to respond to their actions.

4. Staying in character.
   The actors responsibility is to bring the character to life. Many of us are used to and comfortable with the director telling us what to do. But in Small Scenes we expect the director to be nondirective, and it is tempting then for the actors to become directors. One actor may want to tell another actor what to do: "When you say that, why don't you take my hand?" But when actors begin to direct, they stop acting and are no longer in character.
   The actor who is off stage during a scene may be inclined to read the script, walk around, or think about tonight's dinner. The actor off stage has the challenge to stay in character, and the responsibility to be ready to go on stage as the character and not as him/herself.

5. Each character is important.
   Every part is important. Each character plays an integral part of the scene. It is vital for each person to understand his or her relationship with the other characters. A character's importance bears no relationship to the number of lines, the time spent on stage, etc.

1. The director as audience.
   The director's role as a substitute audience is to give the actors feedback and perspective. The actors cannot know how the audience perceives them while maintaining themselves in character. The director, in serving as a substitute audience, helps the actors to concentrate on the acting.

2. Developing character.
   Part of the directors function is to assist the actor in developing character by asking questions which help to identify motivation and examine relationships, and not tell the actor how to move, what to do and when to react. The director can say, for example. "What made you approach your wife?" rather than "Your back is to the audience." or "How did you feel when your wife said 'I'm tired of your lies'?" rather than "Move away from your wife when she says,......." In the brief time given to rehearsal, the time to learn about a character is limited, and both actors and directors may be tempted to shortcut by stereotyping a character, with the result that one aspect of a character is seen rather than a whole person. In order to avoid this trap, the actors and director should try to avoid exaggerating individual characteristics, but rather should try to understand the character's motivation and relationship with other characters in the scene.

3. Setting the scene.
   It is the director's responsibility to set the scene. The director tells the actors where the scene takes place and who is in the scene, designates entrances and exits, and places the furniture in the scene. This provides the actors with support and security, and enables them to focus on their own roles and characters.
   The set should provide the audience with a sense of place and time. It should complement rather than overwhelm the scene. The goal is for the audience to see the characters in their environment and to understand how they fit in that place. A complex set is distracting to the actors and the director, and can shift the attention of the audience from the characters and plot.
   The challenge for the director is to establish in a brief period of time a simple and uncluttered set which communicates clearly.

4. Props.
   Actors often want to dress up and carry objects. This may seem to be helpful and to have potential of communicating to the audience. However, it also has the potential for distracting the actors and the director from the acting. In fact, the audience (or at least an ECRS audience) is willing to imagine the telephone or the flowery hat. Without props, the director can help the actors focus on acting, and assure them that the audience will accept their characters even without umbrellas and guns.

1. "Be true to the playwright's intent".
   The actor's opportunity for creativity lies in portraying the character that has been developed by the author, and not in changing or, in effect, re-writing the play. The creativity of the actor should be invested into developing the character and the director should focus on helping the actors to fulfill the playwright's intent.

2. Scripts.
   The playwright has given us the lines. The script is there for us. If it is held at eye-level, the actor can see it easily and also look at other characters and concentrate on them. The lines should be read as written and not memorized. If the script is laid on a table or held at the actor's side, the actor will tend to fumble around to find it when it is needed.
   The lines in the script are essential, and a forthright handling of the script is a support for the actor.

       We all want to put on a scene for the rest of the class which is polished and complete. However, it is important to recognize that when a scene is presented to the class it is still in process. We are not aiming for a finished product and therefore our expectations should be set elsewhere.
       But, where? The focus in Small Scenes is on the process itself. Does each person (actors and director) participate in the development of the scene? Does everyone have an opportunity for input? Do the characters begin to develop and come to life as the scene is rehearsed and then put on stage? Do the actors and the director work well together? Has the experience been playful?
       These questions may not always be answered with a 'yes.' That is a goal toward which we reach, and in so doing the experience of each participant may be enriched.

       As a leader of Small Scenes at ECRS, Eddie Mover was very much concerned with the use of this recreation medium as a field for leadership development. While taking care that actors and student directors were placed in situations that were likely to satisfy the usual criteria involving fun, challenge and safety, he also structured the class as an opportunity for developing leadership through student directing. At the Summer School at Camp Sargent in 1981, he proposed to student assistants working with him in Small Scenes that a substantial part of the class be given to looking at the role of director from the perspectives of actors, audience and director. With the support of those working with him in that class, he structured discussion after the presentation of .scenes to focus on the directing process as well on as the interaction between characters in the scene.
       This required careful planning and restructuring of class time to adjust the usual pattern of casting, rehearsing, performing and evaluating. The plan was followed, and the discussion and leadership experience were rewarding, I believe. Eddie was insistent that this be accomplished within the time scheduled for class. He felt that this class should operate in the same time schedule as all other classes. Sometimes punctuality was achieved at the expense of process.
       Eddie's strongly held position was that performance of small scenes in the evening program placed too much emphasis on product at the expense of process. His emphasis was on process as it developed in class. The people in the class were part of this process, and their participation as audience was an important part of the learning. Eddie was aware that ego satisfaction was involved for the participants and tried to lead people beyond that. Frequently, but not always, he succeeded.
With respect to leadership development, Eddie encouraged me to progress at my own rate. Choices were left with me as to how I wanted to develop as a leader. A bit of gentle prodding at times nudged me out of inertia. He was accessible for discussions on planning, open to my comments about what happened in class, and candid in evaluating my performance. In addition to verbal evaluation at the event, he provided written evaluations which made specific points to promote my growth as a leader of Small Scenes.

MATERIALS:

       Scripts to small scenes from successful plays are used. The scripts are professional scripts. In other words, they contain only the lines for one performer, with cues. The advantage of the professional script over the full script is that it helps performers learn to listen. The scenes chosen for the ECRS library are carefully selected on the basis of their good writing, emotional content, and inherent challenge for the performers.

BASIC PHILOSOPHY:

       The basic philosophy of the ECRS small scenes process is that playing a role is an opportunity to expand the understanding of the performer, an opportunity to step into the mind and shoes of another, and both intellectually and emotionally examine human inter-relationship from a new perspective. The ECRS process is significantly different from the usual theatrical production process. In the conventional process the focus is entirely on getting a good performance. In the ECRS process the focus is on what each performer experiences. Two crucial points for ECRS directors to keep in mind are that each performer's experience should be (1) valuable and (2) enjoyable, that is, part of a recreational experience.
       Those experienced with the ECRS method know that this method usually leads to an excellent performance almost as an automatic 'bonus.'

CASTING:

       In conventional theater production, a pretty young girl is very likely to be cast as a pretty young girl: this is called casting to type. In the ECRS method, the director will attempt to cast in a way that will provide a reasonable challenge for each performer.

PROCEDURE:

       After casting, with all assembled and seated (players of each scene sitting together), each scene is taken in turn as follows: (1) The background for the scene will be given, either by the instructor or the student director of the individual scene. (2) There is a reading of the scene by its seated performers.
       After all the scenes have been read out loud for the entire group, each scene's players move to a separate room or area where the student director, usually with the help of the instructor, sets the stage, (places tables and chairs, denotes entrance doorways, etc.). Rehearsal, in which performers are free to move about and interact while holding their scripts, begins when the director calls "Curtain!" The director controls when to stop and go over a given part of the scene.
       After a session or two of rehearsal, depending on scheduling, each group presents its scene to the whole class. Scripts are still held; no memorization is needed. It is surprising how little this distracts from dramatic performance.

METHODOLOGY:

       Let's consider a concrete example. Someone is playing the role of a person contemplating a crime: a knife is on the table; the performer exits. A conventional director might say. "Pick up the knife and stare at it for a while before exiting." The ECRS director might address the character (if Samuel is playing "Jim") by saying, "Jim, what's on your mind as you leave that room?" What else the director might say depends on the director's skill and imagination in the situation. It may very well be that Samuel, the actor, never does do what the director had in mind. What he does do, however, will be more natural and comfortable than stilted compliance with externally imposed instructions. The ECRS director must develop great patience. Without telling a performer what to do, how far can a director go in helping a performer find the motivation to get up out of a chair and start moving? Again, this depends on the skill of the director. Eddie Moyer was so skilled as a director that he could shout at a performer without breaching the warm, supportive atmosphere that he created.

DIRECTOR'S CHECKLIST:

• Help by asking individual performers questions about how they, as characters in the scene, feel about various aspects of the situation they are in.
• Help by giving more background or reviewing background for the play and the scene, as needed, during rehearsal.
• Do not tell performers what to do. Do not say "Look out that window" or "Emphasize the second word."
• Do not let performers give helpful advice to other performers or make statements to the group about what other performers ought to do. The performers help each other only via the instruction implied in the script. Although some valuable insights will be lost through this restriction, it is a crucial protection for individual development.
• Remember that this is a recreational activity.

AUTHOR'S STATEMENT:

       The author of this mini-guide to directing has attempted to set forth what he personally has learned from being a performer and student director, primarily under the direction of Pat Emerson and Eddie Moyer. He is aware that some ECRS directors may not agree with everything stated. It should also be noted that most performers derive immense satisfaction from participating in Small Scenes classes.

       Small Scenes at ECRS is unique. How many times have I heard that? And exactly what does it mean?
       The process is more important than the product. The character/actors can think. Give them the structure of a quality script where each actor has the potential for a depth characterization. Give them the bare bones of the action before the practice scene and see what they create.
       The ears of the actors seem to grow big as they intensely listen! Their eyes become bigger as they realize a different meaning in an oft-repeated phrase. The "gut" gets involved as nuances develop and pace slows down, allowing time for process. Feeling becomes real, scary, new, elusive, hard to maintain. Stage patterns become set as actors relate and interact instead of "putting-on" or "indicating".
       The Director becomes the audience representative and the objective viewer/listener/reactor. By means of questioning each actor as an unclear message is being received, the Director can help the actor understand, shape or reinforce the fragile development process. Once a movement seems complete in relationship and pattern to each character and to the dramatist's intent, the Director will affirm the action and hold the actors to that part and move on to another part of the scene.
       Scenes are presented to the other members of the class as "this is where the process is at this time" and "this is where it could grow." Professional scripts are used in rehearsal and performance.
       The depth and breadth of this form of play truly make it an unforgettable experience.