Working on text – the early phase of rehearsal
UPDATE – this is an out of the archive post reworked a year or so on. If you’re a regular here or to my other blog Groundling, from which this is taken, you may have already read my rehearsal and performance posts for the Empire Theatre’s 2008 production of Cabaret directed by Lewis Jones. I played the role of Fraulein Schneider. You can find these posts elsewhere on the site. Just type ‘Cabaret’ in the search pane, and stand back. I’m revisiting some of my posts on actors’ process, which I hope you may find useful. This one looks at text analysis. As always, I would love your commentary.
Sunday’s rehearsals swung into a first shuffle-through of the play scene by scene. This was table talk about character, backstory, and relationships followed by a work through of a couple of scenes in which my character first appears.
First appearances are critical for character revelation. For a start, an audience starts to make up its mind about how it relates to a character. First appearances are also where a play’s obligatory exposition is revealed. A good play will give out the information on who, what, were, why and so on via character interaction and dialogue that hopefully doesn’t beat you over the head, as well as through other subtle clues in the script. These are things the actor needs to pick up and feed the character.
Text analysis for the actor is a bit like the forensic analysis of a crime scene. However, there is something you also need to bear in mind, and that is to balance what the character knows with what the actor knows … or as it’s often expressed, don’t play what’s on the ‘next page.’ I got a bit carried away myself today wondering how significant the first mention of Jewishness in the play would be to my character. Of course the audience is going to prick its collective ears at this point … ‘Uh oh, we’ve got an issue here that is going to come back later!!’ but the characters themselves are at this stage, blissfully ignorant of the fate in store.
This is what I like about these early turning over the text rehearsals … playing with possibilities and making choices, and seeing where they lead. It’s good to have a director like Lewis who allowed me to stumble my way around the set, getting its geography and furniture layout into my head, getting the feel of ownership that the character would have; it’s my house after all – it was once a large home and where I was born and where I grew up. Alas, nowadays it’s been converted into a boarding house. Yes, this was one of the creative choices I’ve made, along with what has brought Schneider to where she is right now … New Year’s Eve 1929.
I’m really going to enjoy the next phase of rehearsals, and it’s going to include something I’m not all that familiar with … making the transition in and out of a musical number. I’m sure it’s going to be all about finding the right energy level and bridging from speech to song, though handily all of my songs tend to do this with quite a bit of ‘spoken in rhythm’ appearing on the score. Although we are not singing within scenes yet, this finding the right heightened energy was something the director worked on quite a bit during the final run-throughs of the scenes this afternoon.