May your New Year’s Eve ring with laughter and cheer! Marking the start of a blessed New Year 201!

Best wishes from acting drama school and team

scripts for Christmas

Good Thing About Christmas


An old wig is recommended. Please read skit below for additional optional props.


- A skit for Scouts and perhaps a leader.

- One or two scouts as narrators, two or more scouts to read off good and bad things.

- Skit may be better suited for Webelos or younger Boy Scouts. It went over well performed by our 2nd year Web’s because the boys really hammed it up.


Narrator 1: ”A good thing about Christmas is...”

Scout 1: “...Getting Christmas cards.” (Scout opens envelope pulls out the card and smiles.)

Narrator 2: “A bad thing about Christmas is...”

Scout 2: “...Writing out and sending the Christmas cards.” (Scout pretends to write, gets cramp in his hand and shakes it. He licks a stamp - YUCK!)

Narrator 1: ”A good thing about Christmas is…”

Scout 1: “...Christmas vacation.”

Narrator 2: “A bad thing about Christmas is...” ADULT LEADER: “...Christmas vacation.” (Scouts run around him once yelling.)

Narrator 1: ”A good thing about Christmas is…”

Scout 1: “...Dreaming that you're Santa and you're about to climb down the chimney.” (Scout pretends to look down the chimney.)

Narrator 2: “A bad thing about Christmas is...”

Scout 2: (Scout rubbing his head,) “…Waking up with a headache after you've fallen out of the top bunk.”

Narrator 1: ”A good thing about Christmas is…” Scout 1: “…Having a white Christmas.” (Scout flutters his fingers like snow.)

Narrator 2: “A bad thing about Christmas is...”

Scout 2: “…Having a white Christmas.” (Scout pretends to shovel snow. Then scout 1 makes a snowball and throws it him, knocking him down.)

Narrator 1: ”A good thing about Christmas is…”

Scout 1: “...Eating Christmas cookies.”

Narrator 2: “A bad thing about Christmas is...”

Scout 2: “…Making the Christmas cookies.” (Pretends to mix the dough in a big bowl.)

Narrator 1: ”A good thing about Christmas is…”

Scout 1: “…Santa comes.”

Narrator 2: “A bad thing about Christmas is...”

Scout 2: “…Santa's reindeer come too.” (Scout takes a step and picks up his foot and shakes it so everyone knows what he just stepped in.)

Narrator 1: ”A good thing about Christmas is…”

Scout 1: “…Unwrapping presents.” Narrator 2: “A bad thing about Christmas is...”

Scout 2: “…Cleaning up after unwrapping presents. (He pretends to pick up the wrappings from the floor.)

Narrator 1: ”A good thing about Christmas is…”

Scout 1: “…Getting a new bike for Christmas.”

Narrator 2: “A bad thing about Christmas is...”

Scout 2: “…Checking it out and noticing that there are 3 wheels.”

Narrator 1: ”A good thing about Christmas is…”

Scout 1: “…Peace on Earth.”

Narrator 2: “A bad thing about Christmas is...”

Scout 2: “…It's not always so peaceful.” (Scout pretends to play with loud electronic game, bangs drums or other noisy toy.)

Narrator 1: ”A good thing about Christmas is…” Scout 1: “…Christmas dinner.”

Narrator 2: “A bad thing about Christmas is...”

Scout 2: “…Aunt Mabel is invited.” (Adult leader runs on stage with a wig on, pinches scout's cheek and shakes it yelling), “Oh, you're sooo ceuute!”

Narrator 1: ”A good thing about Christmas is…”

Scout 1: “…Getting a do it yourself - build your own motorcycle kit and your Dad is going to help you put it together.”

Narrator 2: “A bad thing about Christmas is...”

Scout 2: “…Opening the box and finding the instructions are in Chinese.”

Narrator 1: ”A good thing about Christmas is…”

Scout 1: “…The Messiah has come.”

Narrator 2 “A bad thing about Christmas is...”

Scout 2: (Scout lifts his shoulders and says), "No one can say anything bad about that."

10 Min play

CHARACTERS: (10-12 actors)
CAESAR can double as Pindarus and Strato
CASCA can double as Titinius
CINNA can double as Messala
DECIUS can double as Cato and Lucillus
OCTAVIUS can double as Soothsayer
PINDARUS can double as Caesar and Strato
TITINIUS can double as Casca
MESSALA can double as Cinna
CATO can double as Decius and Lucillus
LUCILIUS can double as Decius and Cato
STRATO can double as Caesar and Pindarus
SOOTHSAYER can double as Octavius
CITIZENS and SOLDIERS can be doubled by everyone except Caesar, Brutus, Antony,
and Cassius


[Enter, in procession, CAESAR; ANTONY, BRUTUS, CASSIUS, and CASCA; a great crowd
following, among them a SOOTHSAYER.]
SOOTHSAYER: Caesar! Beware the ides of March.

[Sennet. Exeunt all but BRUTUS and CASSIUS. Flourish and shout.]
BRUTUS: I do fear the people choose Caesar for their king.
CASSIUS: Ay, do you fear it? Then must I think you would not have it so.
BRUTUS: I would not, Cassius; yet I love him well.
CASSIUS: What should be in that ‘Caesar’?

BRUTUS: What you have said I will consider. Brutus had rather be a villager than to

repute himself a son of Rome under these hard conditions.

[Re-enter CAESAR and his Train.]
CAESAR: Antonius. Yond Cassius has a lean and hungry look..
ANTONY: Fear him not, Caesar. He is a noble Roman and well given.
CAESAR: Would he were fatter! But I fear him not.

[Exeunt CAESAR and his train. CASCA stays.]
BRUTUS: Casca, tell us what hath chanced today, that Caesar looks so sad.

CASCA: Why, there was a crown offered him. He would fain have had it.
CASSIUS: Who offered him the crown?

CASCA: Mark Antony.
[Exit BRUTUS.]
CASSIUS: Well, Brutus, thou art noble; yet I see thy honorable mettle may be

wrought; for so firm that can be seduced?

CASCA: They say the senators tomorrow mean to establish Caesar as a king.
CASSIUS: I know he would not be a wolf but that he sees the Romans are but sheep.
I know where I will wear this dagger then: Cassius from bondage will deliver

CASCA: So will I. Hold, my hand.
[Enter CINNA.]
CASSIUS: `Tis Cinna. He is a friend.

CINNA: O Cassius, if you could but win the noble Brutus to our party-
CASSIUS: Be you content. Three parts of him is ours already, and the man entire

upon the next encounter yields him ours!

[They Exit. Enter BRUTUS.]

BRUTUS: [Opens the letter and reads.] `Brutus, thou sleep’st. Awake and see

thyself! Speak, strike, redress!’
BRUTUS: Give me your hands all over, one by one.
DECIUS: Shall no man else be touched but only Caesar?
CASSIUS: I think it is not meet Mark Antony, so well beloved of Caesar, should

outlive Caesar.

BRUTUS: Let’s be sacrificers, but not butchers, Cassius. And for Mark Antony, think

not of him.

[Clock strikes.]
CASSIUS: Friends, disperse yourselves, but all remember what you have said, and

show yourselves true Romans.

[Exeunt. Enter CAESAR.]
CAESAR: Those predictions are to the world in general as to Caesar. Cowards die
many times before their deaths; the valiant never taste of death but once.

[Enter DECIUS.]
DECIUS: Caesar, all hail!

CAESAR: Decius, bear my greetings to the senators, and tell them that I will not
come today. Calphurnia, my wife, stays me at home. She dreamt tonight she saw

my statue, which, like a fountain with an hundred spouts, did run pure blood, and
many lusty Romans came smiling and did bathe their hands in it.

DECIUS: This dream is all amiss interpreted, it signifies that from you great Rome
shall suck reviving blood. And know it now: the senate have concluded to give
this day a crown to mighty Caesar. If you shall send them word you will not
come, their minds may change.

CAESAR: How foolish do your fears seem now, Calphurnia! I will go.
CAESAR: The ides of March are come.

SOOTHSAYER: Ay, Caesar, but not gone.
[All the SENATORS rise. CAESAR and the SENATORS take their seats.]
BRUTUS: I kiss thy hand, but not in flattery, Caesar.
CAESAR: What Brutus?

CINNA: O Caesar—

CAESAR: Doth not Brutus bootless kneel?

CASCA: Speak hands for me!
[As CASCA strikes, the OTHERS rise up and stab CAESAR.]
CAESAR: Et tu, Brute?—Then fall, Caesar!

[Dies. The SENATORS and PEOPLE retire in confusion.]
CINNA: Liberty! Freedom! Tyranny is dead!
BRUTUS: Fly not, stand still, ambition’s debt is paid! Stoop, Romans, stoop, and let

us bathe our hands in Caesar’s blood then walk we forth.

CASSIUS: So often shall the knot of us be called the men that gave their country

[Enter ANTONY.]

ANTONY: O mighty Caesar! I know not, gentlemen, what you intend, who else must

be let blood; if I myself there is no hour so fit as Caesar’s death hour.
BRUTUS: O Antony! Beg not your death of us. Only be patient till we have
appeased the multitude, and then we will deliver you the cause why I, that did
love Caesar when I struck him, have thus proceeded.

ANTONY: I doubt not of your wisdom. Let each man render me his bloody hand.
BRUTUS: Our reasons are so full of good regard. You should be satisfied.
ANTONY: That’s all I seek; and am, moreover, suitor that I may produce his body to
the market-place, and, as he becomes a friend, speak in the order of his funeral.

BRUTUS: You shall, Mark Antony.
CASSIUS: [Aside to BRUTUS.] You know not what you do. Know you how much

the people may be moved by that which he will utter.

BRUTUS: [Aside to CASSIUS.] I will myself into the pulpit first, and show the

reason of our Caesar’s death.

CASSIUS: [Aside to BRUTUS.] I know not what may fall; I like it not.
BRUTUS: Mark Antony, take you Caesar’s body. You shall not in your funeral
speech blame us but speak all good you can devise of Caesar and say do’t by our
permission, else you shall not have any hand at all about his funeral.

ANTONY: Be it so.

[Exeunt all but ANTONY.]
ANTONY: O pardon me, thou bleeding piece of earth, that I am meek and gentle with
these butchers. Woe to the hand that shed this costly blood. Fierce civil strife shall
cumber all the parts of Italy. Caesar’s spirit shall in these confines cry “Havoc!”
and let slip the dogs of war that this foul deed shall smell above the earth.

[Exeunt with CAESAR'S body. Enter BRUTUS with a throng of CITIZENS.]
BRUTUS: Romans, hear me for my cause. As Caesar loved me, I weep for him; as he
was valiant, I honor him; but as he was ambitious, I slew him! Who is here so
rude that would not be a Roman? If any, speak for him I have offended.

CITIZENS: None, Brutus, none.
BRUTUS: I have done no more to Caesar than you shall do to Brutus. I have the
same dagger for myself, when it shall please my country to need my death!

CITIZENS: Live, Brutus! Live! Live!

BRUTUS: Good countrymen, let me depart alone and for my sake, stay here with
Antony: I do entreat you, not a man depart, save I alone, till Antony have spoke.

[Exit. Enter ANTONY and others, with CAESAR'S body.]
ANTONY: Friends, Romans, countrymen, lend me your ears! I come to bury Caesar,
not to praise him. He was my friend, faithful and just to me; but Brutus says he
was ambitious, and Brutus is a honorable man. You all did see I thrice presented
him a kingly crown which he did thrice refuse. Was this ambition? Look, in this
place ran Cassius’ dagger through. Through this the well-beloved Brutus stabbed.
Brutus, as you know, was Caesar’s angel. This was the unkindest cut of all.

CITIZEN1: O traitors, villains!
ANTONY: Great friends, let me not stir you up to such a sudden flood of mutiny.

CITIZENS: We’ll mutiny.
[Exeunt CITIZENS, with the body. Drum. Enter BRUTUS, CASSIUS and SOLDIERS;]
BRUTUS: I have here received letters that young Octavius and Mark Antony come

down upon us with a mighty power.

[Exeunt. Drum. Enter OCTAVIUS, ANTONY, and their Armies; MESSALA and others.]
BRUTUS: Words before blows, countrymen?
ANTONY: O you flatterers!

OCTAVIUS: Come, Antony, away! Traitors, if you dare fight today, come to the field.

If not, when you have stomachs.

[OCTAVIUS, ANTONY and their army exit.]
CASSIUS: Now, most noble Brutus, if we lose this battle, are you contented to be led

in triumph through the streets of Rome?

BRUTUS: No, Cassius, no. But this same day must end that work the ides of March
begun. For ever, and for ever, farewell, Cassius! If we do meet again, why,
we shall smile; if not, why then this parting was well made.

[Exeunt. Alarum. Enter CASSIUS and TITINIUS.]
PINDARUS: O my lord! Titinius is enclosed round about. He’s taken.
CASSIUS: Behold no more. Here, take thou the hilts and guide thou sword.
[PINDARUS stabs him]
CASSIUS: Caesar, thou art reveng’d, even with the sword that kill’d thee.

MESSALA: Where did you leave him?
TITINIUS: With Pindarus, on this hill.
MESSALA: Is that not he?

TITINIUS: No, this was he, Messala, but Cassius is no more. Mistrust of my success

hath done this deed.

MESSALA: O hateful error, why dost thou show to the apt thoughts of men the things

that are not?

TITINIUS: Where art thou Pindarus?

MESSALA: Seek him Titinius while I go to meet the noble Brutus.

[MESSALA exits.]
TITINIUS: Alas, thou hast misconstrued everything. By your leave, gods, this is a
Roman’s part. Come, Cassius sword, and find Titinius’ heart!
[He dies on CASSIUS sword. Alarum. Enter BRUTUS, MESSALA, young CATO]
BRUTUS: Where doth his body lie?
MESSALA: Yonder, and Titinius is mourning it.
CATO: He is slain.

BRUTUS: O Julius Caesar, thou art mighty yet! The last of all the Romans, fare thee
well! Friends, I owe more tears to this dead man than you shall see me
pay. I shall find time, Cassius, I shall find time

[They exit. Enter LUCILIUS. Enter SOLDIERS and fight]
LUCILIUS: I am Brutus! Kill Brutus and be honored in his death!

[Enter ANTONY.]
ANTONY: This is not Brutus, friend but I assure you a prize no less in worth. Keep
this man safe, id rather have such men my friends than enemies.

[Exeunt. Enter BRUTUS, STRATO.]
BRUTUS: I shall have glory by this losing day more than Octavius and Mark Antony.
Night hangs upon my eyes, my bones would rest that have but laboured to
attain this hour.

[BRUTUS runs into his sword]

BRUTUS: Caesar, now be still, I killed not thee with half so good a will.
[BRUTUS dies. Alarum. Enter ANTONY, OCTAVIUS, MESSALA, LUCILIUS and the army.]
MESSALA: Strato, where is thy master?
STRATO: Free from the bondage you are in, Messala. For Brutus only overcame

himself, and no man else hath honor by his death.

ANTONY: This was the noblest Roman of them all: all the conspirators, save only he,
did that they did in envy of great Caesar. He only, in a general honest
thought and common good to all, made one of them. His life was gentle,
and the elements so mixed in him that Nature might stand up and say to all
the world, ‘This was a man!’

OCTAVIUS: According to his virtue, let us use him with all respect and rites of burial.

Theatre - Performing Arts

Performing arts are a form of art in which artists use their voices or bodies, often in relation to other objects, to convey artistic expression. It is different from visual arts, which is when artists use paint, canvas or various materials to create physical or static art objects. Performing arts include several disciplines, each performed in front of a live audience.

Theatre, music, dance, and other kinds of performances are present in all human cultures. The history of music and dance date to pre-historic times. More refined versions, such as ballet, opera, and Kabuki, are performed professionally.Live performances before an audience are a form of entertainment. The development of audio and video recording has allowed for private consumption of the performing arts.The performing arts can help explain our emotions, expressions, and feelings.

What is a degree in performing arts?
They are usually awarded as Bachelor of Arts (BA) degrees, or less commonly, Bachelor of Performing Arts (BPA). You might be given the option of taking part in a work experience placement during your studies, which would be a good opportunity to develop your skills in a professional context.

Top 5 Famous Plays

Romeo and Juliet – William Shakespeare
In William Shakespeare's Romeo and Juliet, a long feud between the Montague and Capulet families disrupts the city of Verona and causes tragic results for Romeo and Juliet. Revenge, love, and a secret marriage force the young star-crossed lovers to grow up quickly — and fate causes them to commit suicide in despair.

Hamlet – William Shakespeare
Set in Denmark, the play dramatises the revenge Prince Hamlet is called to wreak upon his uncle, Claudius, by the ghost of Hamlet's father, King Hamlet. Claudius had murdered his own brother and seized the throne, also marrying his deceased brother's widow.

A Doll’s House – Henrik Ibsen
The play is significant for the way it deals with the fate of a married woman, who at the time in Norway lacked reasonable opportunities for self-fulfillment in a male dominated world. It aroused a great sensation at the time, and caused a “storm of outraged controversy” that went beyond the theatre to the world newspapers and society.

Cat on a Hot Tin Roof – Tennessee Williams
Williams' play centers upon a single evening in the life of the Pollitt family, which has converged upon the family plantation to celebrate the birthday of its patriarch, Big Daddy. It's evident from the very first scene that all is not as it appears in the lives of the Pollitt family, nor is the occasion as joyous as it would initially seem.

Death of a Salesman – Arthur Miller
Death of a Salesman is a 1949 play written by American playwright Arthur Miller. It was the recipient of the 1949 Pulitzer Prize for Drama and Tony Award for Best Play. The play premiered on Broadway in February 1949, running for 742 performances, and has been revived on Broadway four times, winning three Tony Awards for Best Revival. It is widely considered to be one of the greatest plays of the 20th century.




What is Drama ?

Drama is the specific mode of fiction represented in performance.Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics —the earliest work of dramatic theory.

The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The early modern tragedy Hamlet  by Shakespeare and the classical Athenian tragedy Oedipus Rex (c. 429 BCE) by Sophocles are among the masterpieces of the art of drama.A modern example is Long Day's Journey into Night by Eugene O’Neill (1956).

Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese, for example).Closet drama describes a form that is intended to be read, rather than performed. In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.


Beginners guide for acting

The goal of any actor is to be able to tell a story as a character, so the main task from first reading to final performance is to develop that character. The first and most important step in this process is perhaps the easiest: read! Read the script, read the text, read everything given to you for your part. You wouldn't believe how many actors go straight to performance without having even read their material. It is only by reading the material that you can learn the fundamentals about your character.

So what do you look for when reading your script? Pay attention to everything given to you about your character: his or her name, age, address, likes, dislikes, family, friends, political and religious viewpoints, favorite foods, places, upbringing— anything and everything about your character. Some of these qualities will be said directly by your character or another character; other attributes you'll be able to pick up through context clues in the script. However, the script will only grant you a small fraction of what you need to know about your character. So what do you do to find the other details? You make them up!

Do's and Don'ts When Creating a Character


  1. Read the script! Read your lines, other characters' lines, the stage directions, the prologue, epilogue, other works by the playwright (especially any others that your character might appear in!), everything!
  2. Research. Learn as much as possible about your character outside the text by researching the time period, the setting, the culture and politics of the area, and all the qualities one could ever know about one's self or another person. . . but for your character.
  3. Take time to do more than memorize! Many people think memorizing lines is the "meat and potatoes" of acting. It isn't! Memorizing is just the first step. If acting was like painting, the memorization would be merely mixing the colors. There's so much more to it. Rehearse many times, for different audiences. Play different objectives and look for new tactics to achieve those objectives every time you rehearse, if possible.
  4. Take risks! In real life, people don't just speak to one another monotone while sitting in a single chair or standing in a single spot indefinitely, so why should anyone do so onstage? Move around, be ridiculous! Honestly, be ridiculous onstage. You might feel odd doing so, but the effects will always be great! Acting mirrors life. If you play it safe, you'll most likely be "just okay" 100% of the time. But if you take a few risks, your work will always be more interesting, more dynamic, more effective, more memorable, and more inspiring. Plus, if something you try flops, you'll have many days of rehearsal to exchange it for something new.
  5. Listen! Listening is very important in theater; it's something actors don't do enough of. I don't mean for purely obvious reasons, either, like hearing your director give you instructions. While in character, actually listen to the words the other actors are saying. Don't just spit out your line simply because it comes next on the page. Actually take the time to listen, comprehend, process what was being said, and then speak when the words come. Not only will this keep you in the moment, your acting will seem infinitely more honest and natural if you do! Listening is supremely important.


  1. Don't just read lines with feeling. Contrary to popular belief, acting isn't "reciting lines with emotion." Don't do it in your performance. It's a start, maybe, in order to get a feel for the material. But merely reciting lines with emotion doesn't take into account anything else about the character, and if your only approach to the piece is reading the lines "with feeling," you'll likely come across as just that. Your goal is to create a character who is saying each line with a distinct thought process and purpose.
  2. Don't just go up and "wing it." This is an easy trap for an actor to fall into. Preparing a monologue or scene for performance takes a lot of dedication and hard work, and sometimes, there isn't enough time to fully commit to or even memorize the piece. However, winging it hardly ever works, even for an experienced actor. More often than not, the audience will be able to tell you aren't prepared.
  3. Don't "play emotions." In theater, there is no way to "play happy" or "play sad" or "play angry." Why not? People have infinitely different definitions of what it means to be happy, sad, or angry. Instead of playing an emotion, play the objective. Your character may have just won the lottery, and that's why he or she is happy. Maybe the family dog just passed away, and that's why your character is sad. Or perhaps you just discovered your significant other has been cheating on you, resulting in a whole slew of different negative emotions. See? Playing objectives can lead to the desired emotions, but just playing an emotion itself is impossible in theater.
  4. Don't employ stereotypes. Just because you were cast as the grandfather in the play, that doesn't mean you have to fake a limp, hunch your back, talk in a quavering voice and act feeble. There are plenty of grandfathers in the world who have none of those qualities. Similarly, being cast as the school shooter in a dramatic work doesn't automatically mean your character is antisocial, dark, cruel, or misunderstood. Instead of playing these traits as stereotypes, think about why your character may have developed those kinds of traits in his or her backstory. Keep what works and toss what doesn't.
  5. Don't just take. Give. Another tidbit that mirrors real life. A production, even when you're the lead, is not all about you. It's not all about any one person. A show belongs to everybody, and everybody deserves an opportunity to have their moment. When onstage, see what you can do to make your cast shine, and they'll do the same. Don't hog the spotlight. Being a diva, as it's called, is something people really disapprove of in theater. Be humble.

SOURCE: http://iml.jou.ufl.edu/projects/s12/gair_j/character.html

Types of Theatrical Stage

Stage types:

Proscenium stage:
A proscenium theatre is what we usually think of as a "theatre".
Its primary feature is the Proscenium, a "picture frame" placed around the front of the playing area of an end stage.

The frame is the Proscenium; the wings are spaces on either side, extending off-stage. Scenery can surround the acting area on all sides except side towards audience, who watch the play through picture frame opening. "Backstage" is any space around the acting area which is out of sight of the audience.

Thrust theatre:
A Stage surrounded by audience on three sides. The Fourth side serves as the background.
In a typical modern arrangement: the stage is often a square or rectangular playing area, usually raised, surrounded by raked seating. Other shapes are possible; Shakespeare's Globe Theatre was a five-sided thrust stage.

End Stage:
A Thrust stage extended wall to wall, like a thrust stage with audience on just one side, i.e. the front.

"Backstage" is behind the background wall. There is no real wingspace to the sides, although there may be entrances located there. An example of a modern end stage is a music hall, where the background walls surround the playing space on three sides. Like a thrust stage, scenery serves primarily as background, rather than surrounding the acting space.

Arena Theatre:
A central stage surrounded by audience on all sides. The stage area is often raised to improve sightlines.

Flexible theatre:
Sometimes called a "Black Box" theatre, these stages are often big empty boxes painted black inside. Stage and seating not fixed. Instead, each can be altered to suit the needs of the play or the whim of the director.

Profile Theatres:
Often used in "found space" theatres, i.e. theatres made by converted from other spaces.
The Audience is often placed on risers to either side of the playing space, with little or no audience on either end of the "stage". Actors are staged in profile to the audience. It is often the most workable option for long, narrow spaces like "store fronts".
Scenically, a profile theatre is most like an arena stage; some staging as background is possible at ends, which are essentially sides. A non-theatrical form of the profile stage is a basketball arena, if no-one is seated behind the hoops.

Sports Arenas:
Sports arenas often serve as venues for Music Concerts. In form they resemble very large arena stage (more accurately the arena stage resembles a sports arena), but with a retangular floorplan. When used for concert, a temporary stage area often is set up as an end stage at one end of the floor, and the rest of the floor and the stands become the audience. Arenas have their own terminology; see below.


Performance Skills

There are five ‘indicators’ (or skills) that you use whilst acting on stage.


1.           Movement – Soft, gentle, heavy, light, quick slow.  Hunched, upright, limping, energetic…

2.           Gesture – Signals with your hands / arms to show feelings.  You may have something your character always does, e.g. wrings their hands to show tension.

3.           Facial expressions – Wide eyed, narrow eyed, raised eyebrows, troubled (permanent frown / down-turned mouth).

4.           Eye contact – Staring, glaring, fleeting.  You may decide that your character always avoids eye contact with others to show they are uncomfortable.

5.           Voice – Pitch (high and squeaky, low and soft etc.).  Volume (loud / soft etc.).  You could decide that your character always shouts or whispers.  Tone (angry, pleasant, nervous).  Speech impediments like stutters or lisps can be useful if you are trying to achieve a highly nervous or comic character.