My rehearsal scheduling is ambitious. I often run out of time before I am completely finished with working on a scene or a moment that's been scheduled. Sometimes it is easy to be intently focused on a small piece that seems very important. Other times, I let things slide that should be fixed because other, bigger things need to be fixed. I take a lot of notes, and try to focus on fixing the biggest, most important things --or maybe the most obvious things--first. Layering, layering--trying to solidify the important moments and still pay attention to background work--it adds texture, depth. It can also be distracting if ensemble members don't have a sense of the scene.
I often rely on the actors' sense and understanding of the scene to make it work...case in point: At tonight's rehearsal Abby--our Fantine--(She is so brave.) is still exploring ideas about her character. I shared with the Lovely Ladies that Abby and I have come to feel that Fantine is operating from a place of strength as opposed to weakness. As devastating as her choices are, she is still making choices to fulfill her ultimate objective: taking care of Cosette. I asked them to consider how they would react to her if she was not a weakling to be bullied into submission, but an active agent in her situation. The words that they came up with--ally, sister, colleague--imbued the scene with an ephemera of difference. I loved the direction it took, and I loved how all of their faces and bodies were engaged in a different way: Abby's included. Their thoughts about the scene have a powerful effect on how it plays out because they are doing it and creating it together.
My principle actors are doing deep and thoughtful work outside of rehearsal. I love seeing their thought process coming through the music and text. It's a process of discovery and unless they go through it--connecting what's truthful inside of them with what's truthful inside their characters--they won't find what they need to make their characters authentic and emotional true. They all seem to be digging deep and enjoying the discoveries and the mental gymnastics...and again, not just the principles! My ensemble continues to astonish me with the depth and thoughtfulness of their work.
I am still getting to know many of my actors, finding out what makes them think or smile or feel good about their work. Our honeymoon period is definitely over--I am occasionally irritated by individuals' behavior, (and I'm sure they are with me, too!) but overall, most people are still eager, prepared and ready to work. We are moving into the part of the rehearsal process where we get to discuss ideas and explore possibilities in rehearsal--and I LOVE that part!
So, to link that thought with another one that's been lurking in my head: Is using technology to help actors see themselves useful? Yes, I know it's useful for technical elements,: turn more to the left, stand straighter, reach more, make sure that you are evenly spaced, etc., etc., but what about for finding truth? Does the camera catch that? Can the camera see if someone is "faking" it --for lack of a better word? I don't know--I haven't used a video camera enough to know. I'm very hesitant to rely on it because it is external to the actor...only the actor can tell if he/she is being truthful to his/her action/objective/story. And also, if you are checking the camera to see if you look "right" --what does that do for your search for truth? I guess if you combine it somehow....Just not sure. It--the camera--can definitely catch blocking errors or uneven-ness, weird individual moves or actions, things that don't fit that I didn't see while in the moment, but I don't think I would want to rely on it as the ultimate "fixer".
Alright. I am spinning into sleep as I write this. I bet I'll dream about it.
To the Barricades...
Kelly
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