The phase is a torment for the director. He cannot start much during many rehearsals. He is powerlessly waiting for the players to finally know their role. There can be no question of refinement, nuance, or applying rhythms in this phase of the repetition process. Even if 90% of the players know their lyrics, the remaining 10% will act as a brake on the rehearsal process that not only the director becomes discouraged but also tensions within the player group. From the Acting classes Vancouver this is important now.
This part of the preparations is very discouraging and often an affliction that sometimes leads to outbursts. The players quickly feel offended, yet they do their best, have something else to do, must get it from the rehearsals but don’t have time to rehearse.
- This completely wrong defense becomes very clear when you compare acting as a group event to making music as a group event. In an amateur orchestra, nobody will think about practicing his party during rehearsals. There would simply be no time for that with thirty to fifty different parties. Every amateur musician rehearses his party at home, and the rehearsals serve to compile the ensemble, a group sound, under the direction of the conductor, who interferes with sound, melody, rhythm and tempo. If you compare the practice of amateur musicians with the way the average amateur actor works, then the music can only be a stimulating example. It makes no sense just to raise an admonishing finger. After this try to provide a few practical tips that have proven their worth in practice.
As a director that players take little initiative to ask themselves what exactly happens in a scene and what the situations are exactly where they end up. They stick to their own text and hardly listen to their opponents because they already read their own sentences in preparation. This way, the situation within the scene remains hidden behind the preparatory reading of your own text.
The basis for learning a text is to divide the text into separate scenes.
If you have problems with this, the director and the dramaturge are the right people to assist you in this. It is a good tool to ask yourself what you are actually doing in the scene and in what situation you end up. If it is then no longer possible to get out of his words, one has the solid background of the underlying tissue as background and help.
Then it is not so bad to drop a stitch, you simply pick up in your own words and roll back effortlessly in the words of the playwright. Usually, players if they learn, learn to convulsively almost with the fingers in the ears. This brain cramp is just as harmful to the learning process as a calf cramp in soccer players.
It is better to use a not too large passage scene as a learning object. Go through it a few times, and then do something completely different, browse a book, take the dust off. It is known from psychology that such task interruptions promote the learning process as if the memory is given time to neatly organize and store everything, instead of being overwhelmed by constantly new information. So give your memory time to store what you have learned. Another tool for learning good text is the listening method. Always try to listen carefully to your fellow players during rehearsals. What they say and how they say it.