“Rehearsal is not for getting things right, it’s for trying things on” -Aradhana Tiwari
P R O C E S S
I’m always asked about my rehearsal process. I rather like to consider process over rehearsal. The word “rehearsal” infers doing something and then RE-doing it. “Process” alludes to the idea that there is something evolving over time, taking shape and forming in steps, over stages. That’s how I like to work. Unfortunately the time allotted for pre-production often dictates the process tempo. When I’m directing it’s my responsibility to arch the process inside of those set circumstances one layer at time.
E X E R C I S E
Every project has it’s own propensity for external stimuli (things outside of the script). When directing, I tailor exercise based on a particular text and a specific cast, while considering the overal process arch and production timeline. But sometimes the plan changes. Each rehearsal has a unique dynamic, an energy fingerprint of sorts. Those fingerprints are largely the residue of a directors design. Directing is often about choosing what’s more important then something else very important in any particular moment. Whether that’s looking at the text, or considering the dynamic of a rehearsal, it’s our job to be a good steward of that pre-production timeline and tailor energy and intention accordingly. Sometimes this warrants exercise. When it does, I consider it an investment in the process that profits exponentially. However “exercise for exercise sake” is wasteful during a rehearsal process when it’s not specific or focus-fitted to serve a particular piece or group of artists.