Directing this show is fun. FUN! I'm liking this whole "controlling how the rehearsal process goes." I decide what we do. I decided what we don't do. I think that's one of the rewards of directing...same thing with owning your own business...I'm the boss. I don't want that to sound self-centered or megalomaniacal, but it's one of the perks. Now I can bring certain aspects of other rehearsals for different shows into this one. The result is that I'm enjoying what I'm doing.
Next week is a big week for us. We are completely blocked and I'm happy to be done with that...took some major discipline to not chime in with table talk last night because we had half of the play to block in about 2 1/2 hours.
But now it's time to get to the real work...the fun work.
Next week is about asking ourselves every question and really challenging ourselves to find good, clear actions for every scene. The week after will be about answering questions, but this week is about understanding the play and how each character fits into it.
It's also a crucial week for my chalk ideas. Watching rehearsals and reading the play is really starting to make me understand HOW to use the chalk for scene transitions. Words, images, etudes, improvisations are really bringing to light the best ways incorporate the chalk organically. Tracing footsteps or hands...building a mosaic during the entire show...a mosaic that will be different every night and thus make each performance that more special is our goal.
Transitions will be important to work on. We have to start playing with makeup for scars and injuries. Part of the technical, but it just can't wait until tech rehearsals. We have the advantage of rehearsing in the space so we can get a good sense of how the show will flow. Marking the blocks movement, what needs to be in which box, how they have to be oriented will taken care of much sooner than normal.
But above all else I gotta see good acting. I would rather see the transitions suffer than have the actors up there schmacting, giving bullshit performances. We're slipping into that a little bit still, but because Peter and Kelly are seasoned actors, all I have to do is call them on it and they work towards fixing it.
Case in point: Kelly has a bad habit of slapping her thighs when the character is frustrated. And when the character is worked up, she starts stuttering the start of her lines. "I...I...I..." "We...w...we...we...". It's an actor thing that's a natural thing to do, but it needs to be fixed. She doesn't have the lines down yet so she's fighting that a bit so I haven't grilled her on it yet. But it's something to begin identifying and fixing.
Friday, June 29, 2012
Monday, June 25, 2012
Discovering That This Blog Should've Been All Inclusive About Theatre (July 25th)
Well "The Last Egg" has had it's run and I can now focus on "Gruesome" 100%. Reflecting on the brief, one week rehearsal/performance week for "Egg" it really was a great experience.
I learned that it's important to have a connection with the piece and with whom you are working with. Everything turned out great but it very easily could've been a huge disaster.
Communication is key. The hardest part about the 6 hours of rehearsal was that it's hard to learn how people communicate best in that short amount of time. What you voice out loud is just as important as what you don't say...it's very easy to say too much and not be able to take it back...it's already in the actor's head.
I also learned that you have to be ready for TECH. I didn't have more than three sound/light cues, but when they were shown to me, I had to be ready to say 'yes' or 'no' to them. I think it's better in a longer process when you can ask to see it a few times, but it was a good lesson to know the extreme end of decision making.
Overall, the show was a success. It was rewarded with being the 'Audience Choice' winner, which was a nice recognition, even if it was only out of four total participants:)
We had our third rehearsal for "Gruesome" last night. I feel bad because I had this bad idea to go and do a read through in a park. We walked there and found that it was swarmed with families, which just would've made it too uncomfortable and distracting to attempt to work there. Total time lost was about an hour, so lesson learned on that: control your working environment as much as possible.
When we got back to my apartment, we had yet another incredibly informative rehearsal. We're rehearsing in my apartment out of necessity right now, but hopefully we will get into the space starting tonight. It's hard to work with a dog and a cat demanding attention:)
I had Pete and Kelly do etudes, which was fascinating to watch. Little improvisation games at the start of rehearsals will be a part of our schedule each day. We worked on etudes of the characters at age 8, which is one of our biggest challenges. We want these kids to be real and not have a caricature performance. I'd rather get nitpicked for having the characters be too mature rather than slapstick goofy kids...just doesn't work for this show.
But Pete and Kelly really found some great stuff. The backstory that's organically found in these etudes provide a great foundation to the characters. And they're really doing a great job of putting themselves in the characters' shoes. It's great to see! They think/act/react in the way their characters do.
After the etudes, I always ask them what they learned and what was good/bad about the exercise. It's especially important in these early explorations to address what didn't work or what could've been better. Now is the time to make sure we don't get into bad habits or make incorrect assumptions about the characters. And I find all it takes is observations and questions to cure this. Actors, at least these actors, are very eager to get rid of their own bullshit and work to their ability. They don't want to "get away" with anything, they want to be challenged. And they're responding.
The major aspect of their characterizations that need work right now has to do with vocality and physicality. It's hard to play an 8 year old when you're 34, but that's also part of the fun. Their first etude was very general physically and I found myself watching Peter and Kelly up there. All it took was addressing/discussing it and their second etude was light years ahead. Really great to see.
We're in the thick of rehearsals now...on to blocking and table work!
I learned that it's important to have a connection with the piece and with whom you are working with. Everything turned out great but it very easily could've been a huge disaster.
Communication is key. The hardest part about the 6 hours of rehearsal was that it's hard to learn how people communicate best in that short amount of time. What you voice out loud is just as important as what you don't say...it's very easy to say too much and not be able to take it back...it's already in the actor's head.
I also learned that you have to be ready for TECH. I didn't have more than three sound/light cues, but when they were shown to me, I had to be ready to say 'yes' or 'no' to them. I think it's better in a longer process when you can ask to see it a few times, but it was a good lesson to know the extreme end of decision making.
Overall, the show was a success. It was rewarded with being the 'Audience Choice' winner, which was a nice recognition, even if it was only out of four total participants:)
We had our third rehearsal for "Gruesome" last night. I feel bad because I had this bad idea to go and do a read through in a park. We walked there and found that it was swarmed with families, which just would've made it too uncomfortable and distracting to attempt to work there. Total time lost was about an hour, so lesson learned on that: control your working environment as much as possible.
When we got back to my apartment, we had yet another incredibly informative rehearsal. We're rehearsing in my apartment out of necessity right now, but hopefully we will get into the space starting tonight. It's hard to work with a dog and a cat demanding attention:)
I had Pete and Kelly do etudes, which was fascinating to watch. Little improvisation games at the start of rehearsals will be a part of our schedule each day. We worked on etudes of the characters at age 8, which is one of our biggest challenges. We want these kids to be real and not have a caricature performance. I'd rather get nitpicked for having the characters be too mature rather than slapstick goofy kids...just doesn't work for this show.
But Pete and Kelly really found some great stuff. The backstory that's organically found in these etudes provide a great foundation to the characters. And they're really doing a great job of putting themselves in the characters' shoes. It's great to see! They think/act/react in the way their characters do.
After the etudes, I always ask them what they learned and what was good/bad about the exercise. It's especially important in these early explorations to address what didn't work or what could've been better. Now is the time to make sure we don't get into bad habits or make incorrect assumptions about the characters. And I find all it takes is observations and questions to cure this. Actors, at least these actors, are very eager to get rid of their own bullshit and work to their ability. They don't want to "get away" with anything, they want to be challenged. And they're responding.
The major aspect of their characterizations that need work right now has to do with vocality and physicality. It's hard to play an 8 year old when you're 34, but that's also part of the fun. Their first etude was very general physically and I found myself watching Peter and Kelly up there. All it took was addressing/discussing it and their second etude was light years ahead. Really great to see.
We're in the thick of rehearsals now...on to blocking and table work!
Tuesday, June 19, 2012
Describing Successes and Failures of Second Rehearsals (June 19th)
We had our second of three rehearsals for this ten minute play last night. Some of my problems I solved, only I find them replaced by new ones. I think it'll end up alright, but I wish there was more TIME.
James sat in on this rehearsal...which he'll sit in on each scenes rehearsals process at least once for quality control purposes. I've always had a real respect for his opinion so it was good to have him there.
I MEANT to spend the first bit simply going over blocking, which was to be really simple. What ended up ACTUALLY happening was a forty-five minute stop/start with blocking. Not what I intended and I the notes I gave throughout probably didn't land as well as they could've. James talked to me at break and mentioned that and suggested just letting them run so they get a a head of steam going. Take notes. Pick and choose which ones to give.
I was frustrated with myself because I hate being directed like that. When there's TOO MUCH stop/start where you can't even incorporate the notes because the director stops you. Infuriating for an actor! BUT it's good to catch something like that early on so it can be corrected.
The next rehearsal will be spent adding a little sound, making sure the story and the acting is drawing me in, and and freeing up the actors. They're doing a good job of playing and I don't want them to keep that. But there's a little way to go still with pace/actions/builds still that need to be hammered out.
James sat in on this rehearsal...which he'll sit in on each scenes rehearsals process at least once for quality control purposes. I've always had a real respect for his opinion so it was good to have him there.
I MEANT to spend the first bit simply going over blocking, which was to be really simple. What ended up ACTUALLY happening was a forty-five minute stop/start with blocking. Not what I intended and I the notes I gave throughout probably didn't land as well as they could've. James talked to me at break and mentioned that and suggested just letting them run so they get a a head of steam going. Take notes. Pick and choose which ones to give.
I was frustrated with myself because I hate being directed like that. When there's TOO MUCH stop/start where you can't even incorporate the notes because the director stops you. Infuriating for an actor! BUT it's good to catch something like that early on so it can be corrected.
The next rehearsal will be spent adding a little sound, making sure the story and the acting is drawing me in, and and freeing up the actors. They're doing a good job of playing and I don't want them to keep that. But there's a little way to go still with pace/actions/builds still that need to be hammered out.
Monday, June 18, 2012
Defining Communication in the Rehearsal Process (June 18th)
Had ANOTHER first rehearsal again last night...this time for a ten minute play I'm directing for James Kuhl at Tipping Point for the Sandbox Play Festival. It's a fun way to get to work on a play during a quick 6 hour process. I acted in one last year directed by James as it was a very informative process.
This year, I'm directing. I didn't feel as prepared as I wanted to due to working a lot on Gruesome, which is something I'm going to have to work double hard to be prepared for tonight's rehearsal.
The toughest thing about this process is that there are only three two-hour rehearsals. Which means there's not much margin for error or time to waste.
A big thing I learned last night is that, for this particular process, I needed to harp on energy and builds more. I missed that through all of the table work and attempting to uncover actions. I had them read through it over and over knowing I could get to the whole energy thing at the next rehearsal. But my fear is that i didn't give them enough of a push in that direction so they will have thought that what they were doing was fine. It wasn't bad, but not where it needs to be.
Today pre-rehearsal will be spent mining action from the play. The play is fizzling out and becoming stagnant midway through, so tonight's rehearsal will be crucial to block and get on the right page as far as actions go...we'll only have one more rehearsal after that.
This year, I'm directing. I didn't feel as prepared as I wanted to due to working a lot on Gruesome, which is something I'm going to have to work double hard to be prepared for tonight's rehearsal.
The toughest thing about this process is that there are only three two-hour rehearsals. Which means there's not much margin for error or time to waste.
A big thing I learned last night is that, for this particular process, I needed to harp on energy and builds more. I missed that through all of the table work and attempting to uncover actions. I had them read through it over and over knowing I could get to the whole energy thing at the next rehearsal. But my fear is that i didn't give them enough of a push in that direction so they will have thought that what they were doing was fine. It wasn't bad, but not where it needs to be.
Today pre-rehearsal will be spent mining action from the play. The play is fizzling out and becoming stagnant midway through, so tonight's rehearsal will be crucial to block and get on the right page as far as actions go...we'll only have one more rehearsal after that.
Tuesday, June 12, 2012
Regarding a Director's Encounter with the First Rehearsal (June 12th)
First rehearsal for Gruesome Playground Injuries is in the books. Cast and crew arrived. Beers and scripts were cracked. 56 minutes later we were done.
56 minutes.
Wow. It'll be nice to not have to worry about cutting the script down. I was surprised by how quickly the dialogue went by, but as always, it's a lot quicker to read a play than stage it. Pacing will slow, pauses will be held longer, and "stage business" will make this a nice and simple 80-90 minutes.
Learned lots of good things from the rehearsal:
Read the stage directions during the first read through. I tried to ignore them because I think we all know the action that's going on. Wrong. We needed to hear the stage directions describing the actions...it just didn't work without them. So after the first three scenes, I asked Devon, our stage manager to read them.
How and When you say something or give a note is crucial. I asked Devon to only read the important stage directions pertaining to the actor's actions. This wasn't clear enough and he ended up reading too many, then too few. Clear, concise directions are critical.
I got a bit ahead of myself trying to describe too much of what I wanted from the production. Based on what Peter Brook says in The Empty Space, this is a common mistake and a natural one to make. Tons of interesting things came up in his last chapter, the Immediate Theatre. This is his ideal theatre...the one we need.
He goes on to say many interesting things in the opening of that chapter about, specifically, the first rehearsal:
"No one is in a state to absorb what is said -the purpose of anything you do on the first day is to get you through to the second one."
"The first rehearsal is always to a degree the blind leading the blind."
Describing how during his first big production as a director, Love's Labour's Lost at Stratford in 1945, went on the first day. "I had already done enough work in smaller theatres to know that actors, and above all stage mangers, had the greatest contempt for anyone who, as they always put it, 'did not know what he wanted.'" So the night before he panicked and fumbled around with his forty folded pieces of paper representing the actors all night, organizing their entrance for the first scene of the show. "Hesitation would soon be fatal." After he blocked them and gave them all their instructions, they entered and it wasn't at all how he his forty pieces of paper entered. Should he stop and drill them until they did it right? "One inner voice prompted me to do so, but the other pointed out that my pattern was much less interesting than this new patter that was unfolding in front of me." Everyone was doing things according to their individual character.
"I think, looking back, that my whole future work hung in the balance. I stopped, and walked away from my book, in amongst the actors, and I have never looked at a written plan since. I recognized once and for all the presumption and the folly of thinking that an inanimate model can stand for a man."
I think it's still a good idea to pre-block. But you have to be aware of the individuals that you are working with. They WILL be more interesting than the two 9-volt batteries I used to pre-block with.
"However much homework (the director) does, he cannot fully understand a play by himself." I really like that point. Work MUST be done before the first rehearsal...read the play as much as you can...but then you must OPEN your senses to the other's around you. This isn't about being right or showing people you know more than them because you're the fucking direction. It's about everyone understanding the play as fully as possible and feeling like they had a hand in unlocking it's meaning. From my experience as an actor, I like to discover things for myself, not be told what something means or told what to do. THAT'S when I'm at my best.
I want everyone to feel like they are at their best.
This is going to be a fun process.
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