Communicate with passion and don't keep your thoughts a secret! If you want your cast to
create your vision, they need to know what you're thinking.Nobody said anything about paperwork!Use the
first rehearsal for is to define the tone of the process. Reading a script cold
is difficult; it's hard for some professionals to do. Each person raises their right hand
and grabs the hand of someone who is not beside them. (e.g. Repeat with the
left hand. Reaction: The cast forms five small groups. Others find it the most
nerve-wracking of all the rehearsals. For some students, play rehearsals are a social event. It's
important to bring their focus into the Rehearsal World.Use an Icebreaker. Have the rehearsal schedule
on paper and make sure everyone gets a copy.Here's why:People are forgetful by nature. Even
though high school rehearsal times are sometimes months long, it's amazing how quickly that time
can pass.If you're working with more unknowns, it's more important to create a cast/director relationship
during that first rehearsal. If this is what you want for rehearsals then fine, be
flexible and have fun with them, create that atmosphere. Think about how they fit into
your play, into your specific group, and what your cast can learn from them. But
if this is not your vision of what rehearsals should be, you have to let
everyone know right up front. Share your vision for the production. A final note:
Be leery of trust games - especially those that require someone to 'fall' into the
collective arms of others. Now there's a sea of young faces, staring, waiting, wondering -
is this going to be a great experience? nike shox nz A great play? Memorable for all the
wrong reasons?Some directors find the First Rehearsal the most exhilarating; they're ready to dive into
the process. The circles compete to untangle their knot without letting go of hands. How
to Begin?If you're working with a group you know, get the icebreaker out of the
way, get the talk out of the way (hopefully they're well-versed in your expectations) and
get on to the play. Define clearly what you expect from the cast and what
they can expect from you. Set the tone, set the cast dynamics in motion, and
set the stage for a great experience.PART SEVEN of this series on Directing the High
School Play will focus on Creating Rehearsal Habits.Lindsay Price is the resident playwright for Theatrefolk,
an independent publisher of playscripts for schools and student performers. Give everyone a copy of
the expectations and have their parents sign it. Categories: The cast divides itself up
into smaller groups based on called out categories - favourite colour, number of siblings, type
of shoes, colour of eyes. winning the lottery, getting caught stealing a cookie, getting fired,
being surprised by a mouse) The group must figure out what the situation is by
the reaction. As rehearsals continue, you can choose icebreakers to reflect your needs in the
rehearsal process.Over time, turn icebreakers into more traditional warm ups, which in turn become something
that occurs before every rehearsal, and finally a repeated ritual before every performance.Common Icebreakers: Here
are some commonly-used icebreakers. Make it even harder: Each person introduces themselves with a non-verbal
gesture instead of a name. The games you choose can be a step toward a
unified tn requin cast and a fantastic production.The Name Game: Everyone stands in a circle. Combo: Once
in their smaller groups, have them do the Name Game. The purpose could be as
simple as creating a closer cast dynamic with a name game. The First Rehearsal brings
everything into reality. Make it harder: Everyone has to add an descriptive word that starts
with the same letter as their name: Loud Lindsay, Cranky Craig. The director calls out
and the cast has to get in line according to: height, age, names by alphabetical
order, character names by alphabetical order... Expectations are more concrete when they're in writing. Up
till now it's just been the director and the script. A fast way to lose
trust!What are we doing anyway?Use the first rehearsal to describe the play. Who is participating,
and What do you want to accomplish?Is this your first year at the school, and
you don't know the students at all? Are you a student director working with your
friends? Is your group comprised of a large group of seniors who know each other
and a couple of outsiders?Icebreakers should always have a purpose. A volunteer has to give
to a 'reaction' to a situation. Better to have someone drop out after the first
rehearsal then halfway through. If you want the cast to take things seriously, have consequences.
Something fun, something where everyone can participate. The play is never the only thing on
a high school student's mind and it's natural for them to be scattered. All directors
should have a back pocket full of icebreaker games.What kind of Icebreaker do I use?Take
two things into consideration: Who and What. Your cast has a lot on their mind.
That's no way to start the process.You may choose not to do a reading at
all. What do you do first?And They Walk In the Door...It's a good idea to
start rehearsals by creating a division between the Outside World and the Rehearsal World. If
you let people know right up front what you expect, then anyone who isn't interested
will drop out pretty quickly. Lines: The cast moves randomly about the room.
Spaghetti Untie: The group forms two tight circles. The second person repeats the first person's
name and their own name, the third person repeats the first person's name, the second
person's name, then says their own name, and so on. More often than not there
are a wide variety of reading levels.The First Rehearsal is the first step you and
your cast make together toward production. Share the story. The sooner the better. Too much
information PLUS a reading will lead to a poor read. They may purposefully decide to
ignore your expectations. Some of your cast will be upset, perturbed, irritated, or downright cranky
by how they were cast. Put your expectations in writing. Create an image in the
minds of the actors of what they might expect with the end product. They're not
there to focus on lines. Is there a picture, an idea, a piece of music
that defines the play for you? Show it, tell it, play it. There's always someone
who thinks it's funny to let that someone hit the ground. The first person says
their name. Even when they try, they will forget a rehearsal, they will forget what's
expected of them. http://www.theatrefolk.com.
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