Show fACTORS I ACTORS TO TRY j jI I FOR PLACES IN CAST TOMORROW I i Those Competing Requested R-eques- R ted to Give Names to Kiepe Now for Cast CastI I I AI A- A Assignment I Numerous Suggestions are Given to Students Trying Trying Trying Try Try- ing for Parts in Cast Tryouts for the tho school play The Boomerang will begin Thursday Oct 25 at 4 pm p.m. in the assembly hall hail The Judges will Include all the members of ot the public speaking speak speak- ing ng- ng department and the dramatic council Tryouts will continue Frida Friday Fri Fri- da day and if It necessary Saturday The cast In which on one onu Is Js trying out outI should be given to Werner Verner I manager of dramatics If one is 19 not yet et a member of ot a cast he lie I should present his life name to Mr ll Kiepe with the part for which ho hoI I wishes to tr try and Mr Ir 1 Kiepe lepe will post the name In the tho cast In which to tr try out An n official list of all aU casts and the persons trying out up to th tha th present Is posted In L A manager manager man man- ager nger Is 1 appointed in each cast and his name I l Is marked with a n. star stal This manager must be present In L 9 at 1230 Thursday and draw for the order In which his cast Is to tr try out Some hints for or those trying out These were published I in The Cue a dramatic magazine 1 Loudness is Js no substitute for Cor distinct enunciation and full res- res res ona ace T. T Avoid monotone in Inflection pitch rate force force- and quality as you the would he vs t I 3 Always speak k so 1 that you youma ma may be heard anti and understood by byall byall byall all In the room 4 4 Avoid pauses between the tho tholIne lines lIne a. a If It a It line lino ends with a dash the speaker should continue an Imaginary p sentence until Interrupted Interrupt Interrupt- ed hy by th the next speaker The interI interruption inter inter- however should be made I at the dash dah 6 Carry rry on Or a conversation cOn II as s you OU would In your our parlor Look at atthe atthe atthe the per person on to whom horn you are speak speak- in inn inn- rr- rr rrt t 7 T. Neither stand In In front of nor noi behind anyone unless I specifically demanded I 8 S. S In sitting on the stage stale never show the sole solo o of tho the shoe to the audience Ll Ladles les should never ne cross one knee over o the other 9 9 Do not cross In front of anyone anyone anyone any any- one who ho is talking i 10 If It possible avoid speaking I while your back I Is to the tho aud aud- 11 ii When using the telephone face your audience audience- 12 Imp Important I m p o 0 r rt t a ant ti t conversation should always take place down center centt 13 Ii Never No cease cense acting respond to what the others say be an at attentive at- at listener 14 Avoid moving mo on the stage while others are speaking Unless h n ni v. nl i iN N o 15 l. Never move on n the stage e except except ex ex- for a n definite purpose lC Avoid standing like a statue I neither wriggle around as an expression ex- ex expression expression ex ex- of your our nervousness 17 Better however hoever be WOO wooden M than woolly 18 In making side exits turn with your our b back ck to the center of the stage 19 Keep in the background when whon not In the center of conversation conver conver- |