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First rehearsal/meeting for That's What We're Here For from 10 am to 2 pm today.
We listened to the sound cues and watched some of the short films that inspired this show. I expressed my feelings about the working process we'll be using on this show, without getting into too much "directorial philosophy" nonsense. I noted my unease with the approach I was having to take on this show, and the cast was understanding.
It felt good. I was pretty happy, but then I asked everyone to get on stage so I could see the cast together, and I just started seeing a scene and started blocking them for the "Dad at His Office" scene. Just vaguely, really, but it was a start. Ideas started happening. And I knew how the show was going to work. I'm much more secure in my position on the whole piece.
I realized this is going to come off as some kind of trade show/Up With People performance as if staged by Robert Wilson. That cracked the structure for me.
I was worried about the use of video, but I have realized I will need to use the video pieces as "Knee Plays" between the longer scenes to allow for costume/set changes.
And I have to learn to stop apologizing for those times when I just need to look at everyone and think -- it feels deeply inefficient to me, but that's the process for the show, and I have to learn to accept it and just go on without worrying about anyone being bored or uninvolved. The cast is behind me, so I have to get on with the work.
I wish I could rehearse with stage lights, and figure out the cues as I block the actors, but that's not possible. I should bring in some practicals to use.
I've cracked the work process problem, too. I have to stage the tableaux/scenes first and not worry about the sound integration so much, just deal with the visual patterns first, and whatever dialogue I put in -- and I'm wanting more and more of it -- and then start dealing with the interspersed sound fragments.
I need to slice the hours of sound cue pieces I have down to the absolute smallest fragments I might be using, and catalog them on a number of CDs, so that Berit can sit there with a boom box and drop them in to the scenes as I need them, on the fly, in rehearsal.
Okay. The show will work.
We listened to the sound cues and watched some of the short films that inspired this show. I expressed my feelings about the working process we'll be using on this show, without getting into too much "directorial philosophy" nonsense. I noted my unease with the approach I was having to take on this show, and the cast was understanding.
It felt good. I was pretty happy, but then I asked everyone to get on stage so I could see the cast together, and I just started seeing a scene and started blocking them for the "Dad at His Office" scene. Just vaguely, really, but it was a start. Ideas started happening. And I knew how the show was going to work. I'm much more secure in my position on the whole piece.
I realized this is going to come off as some kind of trade show/Up With People performance as if staged by Robert Wilson. That cracked the structure for me.
I was worried about the use of video, but I have realized I will need to use the video pieces as "Knee Plays" between the longer scenes to allow for costume/set changes.
And I have to learn to stop apologizing for those times when I just need to look at everyone and think -- it feels deeply inefficient to me, but that's the process for the show, and I have to learn to accept it and just go on without worrying about anyone being bored or uninvolved. The cast is behind me, so I have to get on with the work.
I wish I could rehearse with stage lights, and figure out the cues as I block the actors, but that's not possible. I should bring in some practicals to use.
I've cracked the work process problem, too. I have to stage the tableaux/scenes first and not worry about the sound integration so much, just deal with the visual patterns first, and whatever dialogue I put in -- and I'm wanting more and more of it -- and then start dealing with the interspersed sound fragments.
I need to slice the hours of sound cue pieces I have down to the absolute smallest fragments I might be using, and catalog them on a number of CDs, so that Berit can sit there with a boom box and drop them in to the scenes as I need them, on the fly, in rehearsal.
Okay. The show will work.
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no subject
Date: 2006-04-23 10:51 pm (UTC)From:When does your show go up ? You in ny ?
I am going there next week !
I am big on images too so i totally understand and I am glad you found a place of not apologizing for your esthetics. I bet people working with you are grateful !
no subject
Date: 2006-04-24 01:07 am (UTC)From:The concern with not apologizing here comes not so much from my esthetics as from my practical process. Most of these actors have worked with me before and believe in me and my esthetics, but usually I have the entire show in my head going into the rehearsal process and I'm always strong and secure at all points of the process, and I know how to make actors feel comfortable and give them everything they need to do excellent work.
On this show, I've had to start by admitting to them that I don't know everything and that I will need their help and patience. Wonderfully, I have a crew of people who are talented and trust me. I've been doing this long enough to have a solid reputation and some respect; I just need to trust this.
no subject
Date: 2006-04-24 04:33 am (UTC)From::)