Today was supposed to be our first day of running through the whole play; however, that is not how it turned out. We knew that one of our actresses wouldn't be attending, and that's a fair enough thing that we expected. What I didn't expect was for it to take an hour and a half to run through the first scene. That's as long as it took the first time we read through. Whilst I understand that it's been around 8 weeks since we covered it, I had (naively?) anticipated the actors to be pretty keen on their lines, so only need prompting on the blocking.
I was unsure of how to respond to this. With the show going up in 10 days, is it unreasonable for me as a director to expect scripts to be far, far away from the stage now? And for the actors to have taken it upon themselves to move where they feel natural, as I've been recommending now over the last week? I found myself disappointed by the run, and uncertain as to what to do next.
Tomorrow, we have another rehearsal booked - three hours, as opposed to what turned into one and a half today due to room booking clashes - and I would like to think that we'll be able to make considerable improvements to the run, with Abi standing in for the absentee. My plan is for Friday's rehearsal to be a proper run-through, with as many props and costumes as we have our hands on, so we've at least gone through it before the official tech and dress next week.
Perhaps it is because I am still getting used to this 'directors' role, but maybe tomorrow I will be a little firmer with expectations should things feel, in my opinion, sub-par again. Whilst I'm not worried about the final performance, I would prefer a bit more productivity in the run-through, and use it as a way of polishing the piece, rather than repeating rehearsals from two months ago.
Monday 29 April 2013
Saturday 27 April 2013
Speedbump #2
Amazingly, this is only the 2nd issue that I've come across throughout this process - that is incredibly surprising, and not something I'm taking for granted. We've been very lucky with amazing cast and lots of good support.
Last night, one of our actresses got in touch saying she's unexpectedly had to return home for a series of hospital visits this coming week - we'd recently scheduled in two extra rehearsals to make sure everything's polished for the show in 10 days. This of course raises the issue of whether or not she'll be in a position to have memorised her lines and blocking, and the effect this may have on the production as a whole.
However, very quickly I'd decided that we would do whatever we could to accommodate her - whether that be allowing her to have a script in hand for the performance, find someone new, or just support her in her line-learning in a rather more intensive timeframe. At the end of the day, her health is paramount. If this were a professional production, it may call for a very speedy casting of an understudy; however, as a one-night-only assessment, I personally felt it unfair to put added pressure on her at this time. For me, I know that the rest of the cast will help work around it, and that this actress in particular is doing her best to minimise disruption. I can ask for no more as a director, particularly this late in the process.
I would never wish to be a director who my actors are intimidated of - this isn't a good working ethic, and I'd much rather be approachable and face problems head on than have to deal with unhappy people making rash decisions even further down the line. As such, I'm confident that not only will the actress do her utmost to maintain her commitment, but also that whatever the outcome, I'll have continued to learn along the way and how best to handle such situations.
Last night, one of our actresses got in touch saying she's unexpectedly had to return home for a series of hospital visits this coming week - we'd recently scheduled in two extra rehearsals to make sure everything's polished for the show in 10 days. This of course raises the issue of whether or not she'll be in a position to have memorised her lines and blocking, and the effect this may have on the production as a whole.
However, very quickly I'd decided that we would do whatever we could to accommodate her - whether that be allowing her to have a script in hand for the performance, find someone new, or just support her in her line-learning in a rather more intensive timeframe. At the end of the day, her health is paramount. If this were a professional production, it may call for a very speedy casting of an understudy; however, as a one-night-only assessment, I personally felt it unfair to put added pressure on her at this time. For me, I know that the rest of the cast will help work around it, and that this actress in particular is doing her best to minimise disruption. I can ask for no more as a director, particularly this late in the process.
I would never wish to be a director who my actors are intimidated of - this isn't a good working ethic, and I'd much rather be approachable and face problems head on than have to deal with unhappy people making rash decisions even further down the line. As such, I'm confident that not only will the actress do her utmost to maintain her commitment, but also that whatever the outcome, I'll have continued to learn along the way and how best to handle such situations.
Wednesday 24 April 2013
Rehearsal #5 - pages 78-103 (to end)
So yesterday we finished the text - 25 pages, going through some of the most emotional scenes throughout the whole play. I was slightly concerned that after a 4 week break, it'd take some time to get into the flow of the story again, but I needn't have worried. The cast are very close to being off-book, which is impressive as it's a very wordy play, with complicated cues and lines. As always, they remembered the blocking almost instantly, and worked their way through the trickiest sections with confidence and relative ease.
Dr. Matt Wagner, my supervisor for the project, sat in on the rehearsal, and it was good to get an outsider's perspective for the first time. I realised as we walked into the room that no-one outside of the production had seen even a small portion of the play, so it felt good to be able to get some feedback. As I've eased into the role of the director now, it was less nerve-wracking as I knew what I was doing in the space and how I was able to communicate with the actors. One comment that was given was to be sure not to 'micro-direct' - this is something I've been attempting for the last few rehearsals anyway, giving the actors the freedom to see where their character takes them, rather than dictating movement. This allows a more natural flow on stage, and means that every action has a purpose and a drive, rather than just static movement.
We've now reached the point where it's all about runs, and so from next week it'll be scripts down, running the play as smoothly and frequently as possible. It'll be a chance for the actors to get the feel of the riding emotion throughout the chronology of the story, as well as allowing Abi and I to fine tune blocking now that we have measurements confirmed for our space. I'm keen to let the actors continue to move fairly freely with the work, having learnt the blocking quickly and getting a greater understanding of the words. However, I am definitely not afraid of pushing them further when it is necessary - I want this to not only be a good learning process for me in terms of the module, but also an incredible performance filled with meaning and emotion for the audience to get stuck into.
Actors playing Boal's 'Wooden Swords of Paris' game, exploring body awareness and anticipation between one another.
Dr. Matt Wagner, my supervisor for the project, sat in on the rehearsal, and it was good to get an outsider's perspective for the first time. I realised as we walked into the room that no-one outside of the production had seen even a small portion of the play, so it felt good to be able to get some feedback. As I've eased into the role of the director now, it was less nerve-wracking as I knew what I was doing in the space and how I was able to communicate with the actors. One comment that was given was to be sure not to 'micro-direct' - this is something I've been attempting for the last few rehearsals anyway, giving the actors the freedom to see where their character takes them, rather than dictating movement. This allows a more natural flow on stage, and means that every action has a purpose and a drive, rather than just static movement.
We've now reached the point where it's all about runs, and so from next week it'll be scripts down, running the play as smoothly and frequently as possible. It'll be a chance for the actors to get the feel of the riding emotion throughout the chronology of the story, as well as allowing Abi and I to fine tune blocking now that we have measurements confirmed for our space. I'm keen to let the actors continue to move fairly freely with the work, having learnt the blocking quickly and getting a greater understanding of the words. However, I am definitely not afraid of pushing them further when it is necessary - I want this to not only be a good learning process for me in terms of the module, but also an incredible performance filled with meaning and emotion for the audience to get stuck into.
Monday 22 April 2013
Character Dinner
So tonight we embarked on a bit of an experiment. We booked a room on campus, bought some cold pasta dishes, a quiche, some salad, bread and butter, and a trifle. And asked our actors to come along and have a dinner party in their characters. I wasn't quite sure what to expect, but I thought it'd be a good way for everyone to get their heads back into the game after a 4 week break. I was looking for character dynamics, improvised interaction, instinctive responses, and generally anything of interest that may benefit or enhance the play.
The dynamics that came out of just a 25 minute exercise (such a thing like this must go for as long as is natural, and cannot be forced) were more than I'd anticipated, and were both very entertaining and telling.
The tension that arose when Jimmy stepped into the room was tangible, and the light-hearted chatter between Helena and Alison took on a bit of an edge. Jimmy stated "didn't we have salad yesterday?", unexpectedly highlighting the theme of mundane repetition that Abi had decided was a key element to really enhance in the production. Throughout the entire meal, Jimmy was provoking, baiting Helena into argument, and doing his best to belittle Alison. Poor Cliff (who, as one would expect, had the most food on his plate) continually attempted to keep the peace with little comments on the meal, complimenting Alison and hoping Jimmy would calm down.
As an overall experience, it was very informative for me as a director to see how much the actors had picked up on the characters from the text, and how comfortable they were to respond when moved away from the set script. This confirmed their characterisation and the work they've done thus far, and has put us in good stead for the final few rehearsals. I'm really happy with the way they have developed and their interpretations of the characters matches what I'd wanted to get from them almost exactly, which is why they've required fairly little emotional directing up until this point. I look forward to the next fortnight with the rest of the play coming together, and I think tonight's exercise will have strengthened their onstage relationships.
The dynamics that came out of just a 25 minute exercise (such a thing like this must go for as long as is natural, and cannot be forced) were more than I'd anticipated, and were both very entertaining and telling.
The tension that arose when Jimmy stepped into the room was tangible, and the light-hearted chatter between Helena and Alison took on a bit of an edge. Jimmy stated "didn't we have salad yesterday?", unexpectedly highlighting the theme of mundane repetition that Abi had decided was a key element to really enhance in the production. Throughout the entire meal, Jimmy was provoking, baiting Helena into argument, and doing his best to belittle Alison. Poor Cliff (who, as one would expect, had the most food on his plate) continually attempted to keep the peace with little comments on the meal, complimenting Alison and hoping Jimmy would calm down.
As an overall experience, it was very informative for me as a director to see how much the actors had picked up on the characters from the text, and how comfortable they were to respond when moved away from the set script. This confirmed their characterisation and the work they've done thus far, and has put us in good stead for the final few rehearsals. I'm really happy with the way they have developed and their interpretations of the characters matches what I'd wanted to get from them almost exactly, which is why they've required fairly little emotional directing up until this point. I look forward to the next fortnight with the rest of the play coming together, and I think tonight's exercise will have strengthened their onstage relationships.
The final leg - Preparation
So it's curtain up in 2 weeks' time. That is a terrifying thought - we've three scheduled rehearsals left, though I've no doubt we'll put in some more hours in between. I can't believe I'm here already, having stepped into this role with no idea of who I was or what I was doing as a director. Now, I've got 2/3 of a completed play, and a much greater understanding of how I work in these situations.
Tonight, we've got a bit of a challenge. We are hosting a character dinner party. The room has been hired, we're in discussion about the food, but ultimately it'll be 2 hours of improvisation for the actors, and observation for myself and Abi. It'll be a good way to not only shake away the cobwebs of the Easter break, but also solidify the character relationships and idiosyncrasies that I saw developing throughout the workshops Abi had been taking. It'll also be a chance for me to get my head back in and pick up on the little subtleties that will make this play more than just a show, but a performance and insight into the human psyche.
Doing improvised scenarios like this provides both a safe environment for actors to experiment and see what comes naturally, and an opportunity for the directors to take in the atmosphere of a play without being tied down to the text. I'm intrigued to see what happens and what I learn from it.
Tonight, we've got a bit of a challenge. We are hosting a character dinner party. The room has been hired, we're in discussion about the food, but ultimately it'll be 2 hours of improvisation for the actors, and observation for myself and Abi. It'll be a good way to not only shake away the cobwebs of the Easter break, but also solidify the character relationships and idiosyncrasies that I saw developing throughout the workshops Abi had been taking. It'll also be a chance for me to get my head back in and pick up on the little subtleties that will make this play more than just a show, but a performance and insight into the human psyche.
Doing improvised scenarios like this provides both a safe environment for actors to experiment and see what comes naturally, and an opportunity for the directors to take in the atmosphere of a play without being tied down to the text. I'm intrigued to see what happens and what I learn from it.
Wednesday 10 April 2013
Myself and other Directors
From the start of this process, I was concerned with the way in which I would be as a director. I felt that I didn't have the same approach as Abi - I wasn't hands on, couldn't think up clever, engaging warm-up workshops, and preferred to sit back and let the play unfold instinctively before making adjustments according to my own vision. Anne Bogart said something similar in her book A Director Prepares, in which she stated "I listen until there is movement and then I begin to swim"1 (2004: 2), referencing the way in which sharks will sit quietly at the bottom of the seabed until they sense vibrations of their prey. Rather than frantically searching for actors' motivations or actions, I wait until they move of their own accord and then make alterations as I see fit. It encourages me that other directors have a similar way of working.
I'm continuing to learn now that it is important, particularly in a co-directorship, for these differences in the way we approach the rehearsal room. This means that Abi and I are seldom at odds with one another, but rather compliment each other's work and attitudes, presenting different opinions and producing different results that merge towards the common goal of the play. Whereas I find it hard to develop workshops that access a particular part or theme of the play, I find it far easier to envisage the piece as an entire text, a whole period in time that develops and moves naturally in a linear fashion. This is mentioned by Katie Mitchell, who suggests that "Learning to hold the whole picture of what the audience will see in your head as you read the text is critical."2 (2008: 4) - and this is, luckily, what I find easiest. Whilst reading the play felt difficult, I was able to generate a 'film-like' version of it that I can now relate to my actors on stage, knowing full well how they are going to move from one scene to the next, and how their emotions and attitudes build in the context of several months.
Throughout the decades, directors have had different ideas about the best way to present a text, and these differences have sparked numerous debates. Some of these debates have been discussed in the book Re:Direction: A Theoretical and Practical Guide, edited by Rebecca Schneider and Gabrielle H Cody; as Cody writes in her introduction to Part III, 'Theatres of community and transculturalism', "While realistic Directors like Lee Strasberg would still privilege an 'angle of viewing', directors such as Artaud would strive for a profoundly communal experience."3 (2002: 217). This indicates that even the best directors throughout history have expressed unique and individual styles of directing which is evident in their plays themselves. Therefore, my own style coupled with Abi's ability to workshop and stimulate the actors should, in theory, produce a play that is both heavily grounded in textual analysis and understanding, and born from actor experimentation and evolution. Whilst my style relates to "the processes of reading and interpretation which determine meaning"4 (Rabkin, G. 2002: 329) in the text, Abi works best through physicality and improvisation; this combination of attributes allows for a full and complex production that is intellectual and instinctive.
Whilst previously I'd been nervous in the rehearsal room, unsure of my role as director and whether or not I was doing the 'right' thing, I now am confident in my position as the observer-director. I am free to interject the actors whenever I feel necessary, whilst also taking notes throughout Abi's workshops which give insight into the characters' subconscious actions and influence my scene work. It is encouraging to read about directors in the past who have had alternate ways of working, and how not one can be considered better than another. By establishing myself and what I am comfortable doing in terms of direction, I can move into this final chapter of the rehearsal process knowing that the way we've been working this far has been successful.
(1) Bogart, A. (2004), A Director Prepares: Seven Essays on Art and Theatre, Routledge
(2) Mitchell, K. (2008), The Director's Craft: A Handbook for the Theatre, Routledge
(3) Cody, G. (2002), 'Introduction to Part III', in Cody, G. and Schneider, R. (eds) Re:Direction: A Theoretical and Practical Guide, Routledge
(4) Rabkin, G. (2002), 'Is there a text on this stage? Theatre, authorship, interpretation', in Cody, G. and Schneider, R. (eds) Re:Direction: A Theoretical and Practical Guide, Routledge
I'm continuing to learn now that it is important, particularly in a co-directorship, for these differences in the way we approach the rehearsal room. This means that Abi and I are seldom at odds with one another, but rather compliment each other's work and attitudes, presenting different opinions and producing different results that merge towards the common goal of the play. Whereas I find it hard to develop workshops that access a particular part or theme of the play, I find it far easier to envisage the piece as an entire text, a whole period in time that develops and moves naturally in a linear fashion. This is mentioned by Katie Mitchell, who suggests that "Learning to hold the whole picture of what the audience will see in your head as you read the text is critical."2 (2008: 4) - and this is, luckily, what I find easiest. Whilst reading the play felt difficult, I was able to generate a 'film-like' version of it that I can now relate to my actors on stage, knowing full well how they are going to move from one scene to the next, and how their emotions and attitudes build in the context of several months.
Throughout the decades, directors have had different ideas about the best way to present a text, and these differences have sparked numerous debates. Some of these debates have been discussed in the book Re:Direction: A Theoretical and Practical Guide, edited by Rebecca Schneider and Gabrielle H Cody; as Cody writes in her introduction to Part III, 'Theatres of community and transculturalism', "While realistic Directors like Lee Strasberg would still privilege an 'angle of viewing', directors such as Artaud would strive for a profoundly communal experience."3 (2002: 217). This indicates that even the best directors throughout history have expressed unique and individual styles of directing which is evident in their plays themselves. Therefore, my own style coupled with Abi's ability to workshop and stimulate the actors should, in theory, produce a play that is both heavily grounded in textual analysis and understanding, and born from actor experimentation and evolution. Whilst my style relates to "the processes of reading and interpretation which determine meaning"4 (Rabkin, G. 2002: 329) in the text, Abi works best through physicality and improvisation; this combination of attributes allows for a full and complex production that is intellectual and instinctive.
Whilst previously I'd been nervous in the rehearsal room, unsure of my role as director and whether or not I was doing the 'right' thing, I now am confident in my position as the observer-director. I am free to interject the actors whenever I feel necessary, whilst also taking notes throughout Abi's workshops which give insight into the characters' subconscious actions and influence my scene work. It is encouraging to read about directors in the past who have had alternate ways of working, and how not one can be considered better than another. By establishing myself and what I am comfortable doing in terms of direction, I can move into this final chapter of the rehearsal process knowing that the way we've been working this far has been successful.
(1) Bogart, A. (2004), A Director Prepares: Seven Essays on Art and Theatre, Routledge
(2) Mitchell, K. (2008), The Director's Craft: A Handbook for the Theatre, Routledge
(3) Cody, G. (2002), 'Introduction to Part III', in Cody, G. and Schneider, R. (eds) Re:Direction: A Theoretical and Practical Guide, Routledge
(4) Rabkin, G. (2002), 'Is there a text on this stage? Theatre, authorship, interpretation', in Cody, G. and Schneider, R. (eds) Re:Direction: A Theoretical and Practical Guide, Routledge
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