sudipta Sudipta Fantastic I think you wanted us to comment on the RSS but I had problems in registering so I am leaving my comments here with trepidation that I’ll bore some of you. I have used the two tips - 1 Jim Beaver’s suggestion of memorize a para memorize next para connect add a para connect - thats my primary method often used. There are two major pitfalls - 1 sometimes in our zeal to get the lines absolutely correct we spend too much time perfecting and can’t get very far. This is specially hazardous for large sections or poetry or monologues. My suggetsion is to yank yourself out of repeating the same para when you have got 80 done. Since during the connect phase you are going to repeat the paras anyway the remaining 20 get done automatically. 2 In monolgues read Eersha some paras are disjointed. They dont flow one to other and is hard to connect. In those places it helps to think where did the character wanted to from here what did he/she felt at this point and so on. Write a little note like sigh with remembrance disdain for walking out on me etc. . Then an amazing thing happens. I am blessed with many of you are probably are more gifted a bit of visual memory. When I recite I could visualize the script roughly where this part is and what my note was for and that jots the memory for the next para even if disconnected. Generally I stop there but if things are not going well the next thing I do is checking my memorization similar to what Ven Hawkins said about using a cassette recorder taping the whole play and repeating my lines. At this point one can actually add body movements pauses vocal/emotional crutches we use to time them. Its the “Sing with Bernie” part. One thing I did not see in the blogs. That is any good scriptwriter will write connected thoughts and lines or phrases I call them triggers . If one can find these it makes it easier to memorize the next line. This is a must for action and conversation-oriented dramas where each actor needs to react with visual and vocal clues and triggers from others as well as his/her own. It could be as simple as “Kothai boshi” “eikhane Boshun” or connected triggers in a monologue that are 4 lines apart. K. P. Basu Das