6.19.2005
First week of rehearsals
After read-through, my task was to set up a rehearsal schedule that would give us enough time to create a good show and not kill the cast, all of whom have day jobs.
I also had to get blocking for the show completed, find a set designer, find a lighting designer, find some rehearsal props, tape off the auditorium stage to mirror the theatre stage which we won't get until July, create a working floorplan, and anything else that I could imagine. Most of the pressure was on me so early in the process because the director needs to give the actors an idea of what to expect so that the actors may be able to visualize the blocking and make a smooth transition to the other stage.
Usually, I would spend months doing this, but I was caught off guard with the show change. I also thought I had my design team, but the set designer was not properly asked and my lighting designer, a student from ISU, has disappeared off the face of the earth and isn't answering his cell phone.
I called the local civic theatre -- an institution that has been around nearly 80 years -- to borrow some furniture props. I talked with the technical director who was very receptive to letting us borrow stuff. Unfortunately, they didn't have exactly what I want, so I will have to go out shopping soon. For now, I've got some passable rehearsal furniture that will do just fine.
The first two weeks of any rehearsal process are boring and tedious. Blocking is the process of positioning the actors and basically telling them what to do. Actors really depend on a director to put them in just the right place at just the right time so they can do they're stuff. Blocking is one of the more challenging aspects of directing to me. You have to begood enough to give them a good idea of where they will be in a given scene, but you also know that if a better idea comes along later in the process, you must give in to it, almost always. The trick is communicating that with confidence to your cast. Most of the people in my cast have worked with me before and are aware of my style. Collaborate until opening night!
We rehearsed Monday through Thursday. Monday, we sat around and talked about characterizations and objectives, scene and overall, and obstacles to these objectives.
It's called table work at ISU and it sets up the work ahead. It basically puts the director and the actor on the same page as far as characterization. Working toward similar goals is always important. It also saves a lot of heartache later. Tuesday and Wednesday we blocked a few scenes.
Thursday we worked on projection of vocals. This show will be done without body microphones or lavaliers. Therefore it is imperative that the cast be able to speak loudly and clearly so the entire audience may hear the story.
We also worked on physical aspects of the show. This is a very specific type of show. The audience will only see the actors when the lights are off or the actors are blind. Having been through a few power outages in my life, I know that your movements in the pitch dark are very specific. They are also different than if you were an actor portraying a blind person. So we did a lot of exercises blindfolded. I would give them a target to reach and then place obstacles in their path. I asked the cast to pay careful attention to how they hold themselves when they are relying on the other senses to steer them around the room. Many thought it was a good exercise.
The last time I directed this show, I did this, but not enough. I thought I could've have done this more. This time I dedicated a whole rehearsal to it.
This week is all blocking. We will be joined by the rest of the cast who have been out, unable to attend.
I also had to get blocking for the show completed, find a set designer, find a lighting designer, find some rehearsal props, tape off the auditorium stage to mirror the theatre stage which we won't get until July, create a working floorplan, and anything else that I could imagine. Most of the pressure was on me so early in the process because the director needs to give the actors an idea of what to expect so that the actors may be able to visualize the blocking and make a smooth transition to the other stage.
Usually, I would spend months doing this, but I was caught off guard with the show change. I also thought I had my design team, but the set designer was not properly asked and my lighting designer, a student from ISU, has disappeared off the face of the earth and isn't answering his cell phone.
I called the local civic theatre -- an institution that has been around nearly 80 years -- to borrow some furniture props. I talked with the technical director who was very receptive to letting us borrow stuff. Unfortunately, they didn't have exactly what I want, so I will have to go out shopping soon. For now, I've got some passable rehearsal furniture that will do just fine.
The first two weeks of any rehearsal process are boring and tedious. Blocking is the process of positioning the actors and basically telling them what to do. Actors really depend on a director to put them in just the right place at just the right time so they can do they're stuff. Blocking is one of the more challenging aspects of directing to me. You have to begood enough to give them a good idea of where they will be in a given scene, but you also know that if a better idea comes along later in the process, you must give in to it, almost always. The trick is communicating that with confidence to your cast. Most of the people in my cast have worked with me before and are aware of my style. Collaborate until opening night!
We rehearsed Monday through Thursday. Monday, we sat around and talked about characterizations and objectives, scene and overall, and obstacles to these objectives.
It's called table work at ISU and it sets up the work ahead. It basically puts the director and the actor on the same page as far as characterization. Working toward similar goals is always important. It also saves a lot of heartache later. Tuesday and Wednesday we blocked a few scenes.
Thursday we worked on projection of vocals. This show will be done without body microphones or lavaliers. Therefore it is imperative that the cast be able to speak loudly and clearly so the entire audience may hear the story.
We also worked on physical aspects of the show. This is a very specific type of show. The audience will only see the actors when the lights are off or the actors are blind. Having been through a few power outages in my life, I know that your movements in the pitch dark are very specific. They are also different than if you were an actor portraying a blind person. So we did a lot of exercises blindfolded. I would give them a target to reach and then place obstacles in their path. I asked the cast to pay careful attention to how they hold themselves when they are relying on the other senses to steer them around the room. Many thought it was a good exercise.
The last time I directed this show, I did this, but not enough. I thought I could've have done this more. This time I dedicated a whole rehearsal to it.
This week is all blocking. We will be joined by the rest of the cast who have been out, unable to attend.
