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DATELINE: 4 August, 2003

Transmitted by STEVE OGAH

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RDR Logo. Theatre is a unique and special place for acting. When I read and then find some meaning of interpretation for a play, the medium that comes to my mind for the staging of actions inherent in a script is the stage. The stage provides the platform for immediate audience assessment of how I carry out the role of a particular character. In the theatre, there is no room for short cuts. In acting for theatre, I am provided with the opportunity of meeting my first real critic - the audience. In the darkness of the theatre they sit, watch, and are able to assess how well I have carried out an assigned role.

The constructive mind of theatre-goers is always at work when watching an actor, and their applause, smiles, jeers and empathy are all valuable assessment of my theatrical abilities. If I please their sensibilities, they cheer. If I do not, they do not conceal their displeasure with my inability. I therefore do not find a better immediate judge for my actions than the theatre.

It is an expression of a personal opinion to say that, most times, plays come with clear messages for the audience and an actor plays a great role in seeing that the message of the playwright is conveyed to the audience. Through acting for theatre, the actor is able to assess just how well the audience has learned if the play is essentially didactic. He sees through the mood of the audience, their state of mind. An actor, acting for theatre, is able to see if the live audience feels empathy for the character he or she portrays. He does not have to rely on delayed feedback via letters or some other personal contacts.

Theatre assumes a dual assessment purpose in that the audience rates the actor, and the actor is also able to assess, through live reactions, the immediate success of his role in a play.

The power of theatre to also induce a retentive memory cannot be over emphasized. When acting for the theatre, I am forced to recall a forgotten line by my own means because the luxury of the director screaming "Cut!" is not afforded when I am acting in front of the intelligent audience. Fully aware that I must not forget my lines on stage, I am forced to do all within my powers to remember my lines. This for me is the unique beauty of the art of acting for theatre.

Photo of Steve Ogah.In my mind, this leaves me better prepared for the rigors of acting. In theatre, as an actor, I am able to see the audience the way they are and sometimes get them involved in the resolution of a play's conflict.

Through soliloquy, for example, an actor throws out the conflict in the play to the audience and through their reactions he sees how they would love to see things resolved; but they may not be necessarily provided the luxury of their personal opinion interfering with that inherent in a script.

Acting for theatre is a thing of joy. As an actor, I am most gladdened to see a truthful assessment of my performance. The scenario of a joyous theatre when light gradually dims on Centre Stage, signally the end of actions; yet the audience calls for more, when one knows the play must come to an end, is most exhilarating for an actor. For me, this is the beauty of immediate audience assessment, the beauty of the art of acting for theatre.



STEVE OGAH is a creative writer and voicesnet(USA) writer of the poem of the month, february 2002. His poem "tomorrow" is designated as one of three special poems on the voicesnet website. He is published in the anthology, "blood on our ivory tower", and was recently made a voicesnet international poetry ambassador. He resides in Lagos, Nigeria. This is his first article for The World's Magazine.



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