The sentence “I didn’t say she stole it” can be interpreted in a number of ways. The speaker’s intention is changed by the simple insertion of a single pause after “I,” “stole” or “it.” On stage, silence isn’t just the space between two lines. It can communicate the actor’s choice, a hesitation, a reaction, or even a new objective.
Take any sentence from a monologue or dialogue, make three pencil marks to show where a pause could occur in the line, and read that sentence aloud three times: once without pausing, then again using each of those three pauses. Speak each version in a consistent volume and tempo. Observe which word receives emphasis after the silence, and consider what the new intention is. Which version sounds more defensive? Sceptical? Or perhaps surprisingly sincere?
Any significant pause should have a purpose. The character may need a beat to absorb the meaning of what was just said, to decide whether to share something with others, to suppress an urge, or to watch another actor to see how he or she has taken something. Silence without a purpose may appear to the actor as a lack of memory. Before pausing, ask yourself what the character is experiencing internally, and even a small answer, such as “I choose not to go” can direct the silence.
A common problem for actors is that they fail to change thoughts, often leading to a speech that seems one-dimensional because each thought has been presented with the same speed. It can help to mark beats on the script. Use lines to show where the thought changes, either in objective, image, line of argument, or emotional impact. Read your speech one beat at a time; let each beat play out before beginning the next. This is not the same as ending after each phrase; a sentence does not always match a single unit of meaning.
The pause also occurs in the act of listening. If you answer as soon as your line comes up in dialogue, you may appear as though you are merely waiting for your cue to speak rather than really hearing the other actor’s words. Let the other actor finish his or her sentence, maintain eye contact and give yourself the opportunity to absorb what the other actor just said. This might manifest physically in your body or as a breath before you respond. There is no rule that says you must delay responding to the speaker, but simply a few moments of silence can make clear that you’ve heard and been impacted by something new.
Don’t use movement to fill up the pauses. It can undermine a beat if you’re touching your face, shifting weight, or fidgeting with a prop. Instead, stay focused, and allow yourself a quiet moment in the silence. If you do move, move in response to whatever change of thought is happening when you pause. Taking a step toward the door after you have decided to leave is less confusing for the audience than pacing back and forth while talking.
Record a segment of your dialogue or monologue and listen to it without watching yourself. Can you sense when the thought changes in the text, or do the pauses feel arbitrary and the same? Then watch yourself without listening, and consider if you seem to be truly thinking while you pause. The pause is not just a way of delaying the next sentence; the goal is to make the audience ask, what are we going to hear from him or her next?