Sometimes I think it is expected of us (directors) to enter the rehearsal room on the first day knowing exactly what we’re doing. Expected that we know what the show will look like, or even what it is at all. Well this isn’t necessarily true.
A rehearsal process always starts with the unknown; the script. In a devising process the unknown is more accepted and expected. Invited in even. So should be the case in script-based work. In many regards of course the script is very known, too known perhaps. Everyone involved has probably read it more than enough times (should have at least) so it’s saturated their skull, body, their very being. This is the point where sticking happens; you’ve sat alone reading and re-reading, sticking to the words on the page and what they have to offer.
Here’s the point when, as a director, you have absolutely no idea how you’re going to work on this script – what you’re going to do to unlock it. And that’s the point, you’re not going to do anything. What happens next is down to you and a group of actors (maybe a number of designers too), and until you get into a room to work for the first time you absolutely can’t know what you’re going to do. Of course you can have ideas, but these can’t be set in stone before rehearsals have begun.
This unknown can often make a first rehearsal fairly nerve-wracking. Knowing a group of people will be looking to you to shed some light on the unknown. Well it’s okay, because the rehearsal process welcomes the unknown and what you really aught to do is illuminate the unknown so you can all explore if further. The early stages should be a journey through the spaces in the script led only by trepidation and a sense of adventure. A willingness to explore and to find out what this thing called ‘script’ actually is.
Not knowing in the early stages is okay, it’s when you reach performance and the play is still a complete unknown that you may not have done your job right…then again, some plays desire to remain an unknown forever…
witnesstoexperience 