6.14.2005
Second Rehearsal: Getting a character
The second rehearsal was a new approach for me. In my former directing stints, I would usually begin with blocking right away. We would discover character through repeated viewings of the script. But I had a change of heart with my advanced directing class I took Spring 2005 semester with ISU Theatre Department chair Arthur Feinsod. I learned about table work which was a new term for me. I was doing a little table work but Arthur convinced me that for a full-length show, you could spend several days just sitting around a table discussing character motivations and angles that the play can take.
It was beneficial to start the process of discovering a character from very early in the process instead of "discovering" it during the final dress rehearsals. Granted, these were early shadings, but at least it was a starting point and everyone was on the same page. It was interesting from a communications standpoint because there was an implicit contract formed this evening between me and the actor. There was no misunderstanding as to what I wanted and what the actor was expecting in getting. It set up expectations without any pulling of rank. (Pulling rank is also difficult in a volunteer setting.)
The entire cast was present and I talked with each actor about their character and their motivations. Thes were group talks. Everyone listened. I did that on purpose because I wanted everyone to know what all the other actors were doing. This helps the collaborative process.
For instance, Mark Meyer and I determined that Brindlsey's character would avoid confrontation at all costs. He would lie, cheat, steal and would do ANYTHING to avoid a confrontation. He had no morals, no scruples. It's a very hard part because the audience shouldn't like him, but I stil had to try and gain sympathy for him. I had to make the audience want him to succeed. So can you imagine how crappy the other characters have to be?
This worked well. I think everyone enjoyed to group discussion and realized that this was a very serious approach to community theatre. It was not a place to blow off steam and have fun. This was going to be work.
It was beneficial to start the process of discovering a character from very early in the process instead of "discovering" it during the final dress rehearsals. Granted, these were early shadings, but at least it was a starting point and everyone was on the same page. It was interesting from a communications standpoint because there was an implicit contract formed this evening between me and the actor. There was no misunderstanding as to what I wanted and what the actor was expecting in getting. It set up expectations without any pulling of rank. (Pulling rank is also difficult in a volunteer setting.)
The entire cast was present and I talked with each actor about their character and their motivations. Thes were group talks. Everyone listened. I did that on purpose because I wanted everyone to know what all the other actors were doing. This helps the collaborative process.
For instance, Mark Meyer and I determined that Brindlsey's character would avoid confrontation at all costs. He would lie, cheat, steal and would do ANYTHING to avoid a confrontation. He had no morals, no scruples. It's a very hard part because the audience shouldn't like him, but I stil had to try and gain sympathy for him. I had to make the audience want him to succeed. So can you imagine how crappy the other characters have to be?
This worked well. I think everyone enjoyed to group discussion and realized that this was a very serious approach to community theatre. It was not a place to blow off steam and have fun. This was going to be work.
