Rehearsal to Performance

Choose Appropriate Audition Piece -
If Possible, choose a work written for the stage that will feature your abilities as an actor with specific attention to the type of work you are trying out for (i.e.: comedy or drama, an authority figure or a quirky character, and age specific character or a type of emotional or physical detail).

Prepare Audition Piece -
Understand, memorize, and block.

Audition -
Be prepared to stretch, perform and be flexible about taking direction at audition.

Casting -
The director will select a cast based on many factors.  The audition is not competition for most talented actor.  It is a puzzle worked out by the director.  Some things often considered are: enthusiasm, reliability, ability to work with others, generosity of spirit, talent, flexibility, range, specific combinations of people, specific training and preparation of each actor, time availability.

First Read -
Actors in the cast receive script and read aloud together under the guidance of the director.  This reading should provide the first sense of place, conflict, story development, character and relationships.

First Impressions -
How the story or experience manifests itself.  How do the parts and characters interact?  What kinds of tasks are presented?

Exploration -
Storyline, literal meaning, customs, time period, place, imagination.

Begin Memorizing -
Don't wait.  You might want to use a tape or work with another actor.  Each actor finds a personal method.  Remember, this will be a process that will be necessary for your entire career.  Understand what you are saying.  Look up any work or phrase that is new to you.  Work at home or off-stage.  Use stage time to explore specific scene work.  Try to incorporate blocking and movement as much as possible while memorizing.  Explore the character in the context of the play, of the scene, of the relationship with other characters.

Blocking -
The movement and choreography of the play.  The director will give blocking notes at rehearsals.  Each actor needs to work this movement in with the lines.  This blocking usually comes from the actor's character work.  Once set, the blocking needs to be memorized off-stage or at home.  Do not waste stage time to memorize blocking.

Off-Book -
Acting without the need for the script (memorized).  This usually is expected by the time blocking rehearsals are finished.  Sometimes, if time permits, there will be a few days to catch up during rehearsals, but don't count on it.

Coherence -
Bring lines and blocking together while developing character and dramatic interaction.

Runs -
Timing and physical ideas are worked on.  Speed runs are used to compress time to stage time and genre demands (i.e.: comedy, style, period).

Tech -
Lighting, costume, scenic elements, special effects are integrated into the production.

Showtime -
The performance itself.  Specifics will be announced.

Photo shoot -
The production is recorded by camera and video for archival and teaching uses.  During the rum of a production the cast may be asked to remain in costume after the show to be photographed.  On these nights, in order to preserve the magic of the show, actors may be asked to provide robes to wear over their costumes to greet the public in the lobby before photo-shoot.  This will be expanded further.

Strike -
The dismantling of the production.  Stage breakdown and deconstruction, inventory, organization and return of scenic elements under the direction of Technical Director and Artistic Director.  Breakdown, inventory, organization and return of costume elements under the direction of the Costume Designer/Supervisor.  During strike, many things and people are in motion.  It is important to be aware and listen to authorized personnel in order to avoid accidents, as it is potentially  a dangerous time.  A generosity of spirit is particularly needed at this time.  All members of cast and crew must be present during strike.  Each person will be assigned several tasks.  A well-organized strike is essential to be a safe and successful production.  The following production will benefit as well.

Rehearsal period is a special time where the director, designers, cast and crew need to work together to accomplish the creation of a specific experience to be presented for a live audience.  It is a delicate and demanding time where a great deal of learning, teaching and sharing takes place.  Conditions can become pressured, as time is limited.  Because of the unique type of period, special demands and requirements  are asked of everyone involved.

The Artistic Director sets the pace and the vision of the production.  This vision is the interpretation and embodiment of the experience to be created and performed for an audience.  Designers are invited to contribute interpretation and ideas  toward the accomplishment of this central goal.  Actors work out this central vision under the guidance and supervision of this Artistic Director.  Technical Crews provide and build the physical environment needed to embody the central vision.  Maintenance and security are needed to ensure a safe and clean environment for cast, crew, and audience.

Theatre is collaboration.  All of these parts need to work in concert to manifest a successful experience. All members of the production need to be thanked for their work.  The need for cooperation is paramount - is of utmost importance.  Appropriate behavior is necessary to achieve excellent and positive results.  Rules in the theatre have specific objectives.  A generosity of spirit is absolutely essential for  any team to be successful.  This is also true of the theatre. 

Each member of the company will be expected to be kind and generous toward the work, toward fellow company members (tech and/or acting), toward the artistic director, toward the designers, toward faculty, toward oneself, toward the audience.  Respect for all elements of the creative process and all personnel will be expected.  Unreasonable and/or inappropriate behavior leading to the hurt of others will not be tolerated.  Please be advised.  Any discrepancies can and should be addressed to the Artistic Director, Rylan Brenner.  It is always better to discuss problems than to hide them and let them build.  (Privacy will be respected.  Remember, no one is perfect.)