dialogue

     Phrasing dialogue.

     Another reason for sounding artificial and 'actory' is faulty phrasing.

     The only pauses in speech; to find the right word or special emphasis.

     There are no periods or commas when we talk.

     Learn the words subject to subject, not line by line. In character forget words, and think objective.

lines     meaning of words     words

1. Act with your whole body, the feelings are going, use your voice and don't bury dialogue trying to be natural. Use color, don't mumble. How to make it special, how to illuminate it. As an actor be a chef, be decorative.
2. Any line can be said a thousand ways.
3. Behavior is more important than dialogue. Radio is dead.
4. In acting a scene an actor can't think the story or dialogue.
5. Clarity of words that is what writers want, allow the dialogue to come out, don't disappear.
6. Dialogue are only noises we make. We don't mean what we say. Understand the audience.
7. Dialogue doesn't fit behavior.
8. Dialogue has certain phasing.
9. Dialogue is chatter. People don't say what they mean.
10. Dialogue is minor. What is more important is behavior.
11. Dialogue is not a statement of fact.
12. Dialogue on both sides of the page.
13. In a scene dialogue can't just be loud and soft only.
14. Dialogue: You don't know the lines coming. Deal with each moment.
15. Do opposites from dialogue.
16. Don't depend on dialogue, behavior is the story.
17. Don't get into the dialogue.
18. Don't go on a trip of dialogue for past events. Don't play words for value. Stay with objective at present times.
19. Don't just start playing dialogue.
20. Don't make a heart breaking speech in a heartbreaking manner.
21. Don't be playing the dialogue and not telling the story.
22. As an actor you can't reveal that you learned the dialogue. The scene will come out wrong if audience can tell.
23. Don't run dialogue together.
24. Don't sit and wait for dialogue. Keep thinking your objective.
25. Don't take dialogue entirely literally for choices.
26. Don't think dialogue, think objective.
27. Don't whisper with breathe. Writers get mad if actor becomes breathy; actor must be articulate play dialogue with resonate.
28. During a performance the actor must not think of the story or think  about the dialogue, but only think objective.
29. Explore the moment, it's about behavior not dialogue.
30. Every moment has a beginning, middle, and end. Then dialogue will have meaning.
31. Forget dialogue. Actor has learned it now forget it.
32. How you play each moment is important not dialogue.
33. If you understand the dialogue, you'll know how to say it. Let the emotion you choice for the character color the words. 
34. Inside the four walls. Acting is in a controlled obsession. Do not think the dialogue, think intention. What you want to accomplish. Exclusion to everything else. It's a discipline.
35. It's easier to talk dialogue: let it go.
36. Learn to act without the dialogue.
37. It is wrong to only go with mood of dialogue, that is elocution, that is bull sh*t.
38. Modern acting: Action precedes dialogue.
39. More to it than just dialogue...
40. Never be mislead by the dialogue.
41. Never change the dialogue, however the actor can find behavior.
42. Never think the words.
43. No big dramatic scene: Trick: run the dialogue together.
44. Not dialogue, but behavior.
45. No dialogue, just behavior take your time. Never change the dialogue. Can find behavior.
46. People coping with difficult situation. A whole person in difficulty. Reactions, just not dialogue. It's about behavior.
47. Play the values, not the dialogue.
48. Play the values, don't wait for dialogue, we go by what we see.
49. Playwright: sees a result in his head, applies it into dialogue. We can't know how he staged it.
50. Scene is not about dialogue.
51. Scene must start before dialogue. (This is an angry lady, have her packing, throwing things.)
52. Silences is your part to act. Complete the silences. Don't play the dialogue, complete the silences.
53. Sloppy diction; actor swallowing words, he thinks audience knows words.
54. Speak clearly. Simple, clear, clean. Too much means insecurity of actor. Use charm and good posture. Relax yourself.
55. Stay with one emotion. You can't go the way the dialogue goes.
56. Stop acting dialogue.
57. Story telling has to be behavioral. Movies are all about behavior, play it through, not just dialogue.
58. Tell a story. Not dialogue but behavior.
59. There are no periods.
60. There was no shape to scene.  Dialogue was just loud and soft only.
61. Understand all dialogue.
62. We are talking about what to do when there is no dialogue. And that is where you have to have self, a person, your own person. The character's person.
63. What is it about? Look under the dialogue.
64. What people say is a lie, dialogue is not a statement of fact.
65. Writer gives story, character and dialogue. Actor then gives it life. Remember to not act dialogue.
66. Wrong: controlled; pretending to be out of control. Can't be planned behavior. The unexpected, don't think the dialogue; Don't think words.
67. You don't know the lines coming. Deal with each moment.

1. Character suffering, don't just make dialogue joke.
2. Comedy change your concept. Dilemma greater. Don't play humor of dialogue. Approach to the man hole.
3. Comedy: Don't "walk" on dialogue.
4. Comedy has to be reaction, just not dialogue.
5. Comedy is all opposite of what you say.
6. George Abbott. All dialogue must be understood in comedy.
7. The actors were busy yelling the dialogue to be funny. Instead, you must have heighten people, real and with difficulties (real problems).

"In the end, it can't look like acting."