This week we begin rehearsals in earnest for Richie, Little Green Pig’s all-female version of Shakespeare’s Richard II. I want to get everything I can out of this experience, and I want the people involved to get the most out of me, so I thought it might be helpful to set down some intentions for the rehearsal and performance process. Partly, this is an experiment to see what will happen if I start with an intentional list of ‘how I want to be as an actor in this show,’ and partly it’s an ongoing effort to clarify how I want to be in the world and how I want to spend the art-making time that I have.
As I sat down to write, I discovered that most of these intentions have been floating around in my mind as a ‘personal code of acting’ for many years, and this list has been very heavily influenced by my time spent on the directing/production/writing side* as well as acting teachers, cast-mates, etc.. Since I’ve never written this stuff down before a show, I’ve been lazy and hit-and-miss about following the ‘code’ from project to project. As we all know, committing words to paper is helpful for accountability, intentionality, and mindfulness, so I’m hopeful this list will keep me on track. Writing it down also helps me sort out what I really mean and what’s important to me. I’m thinking of it as a work in progress…
I also wonder if most of the bullet points below are plain ol’ obvious and duh! — is this stuff everybody knows and everyone is trying to do? I’m really curious to know what other theatre-folk would include on their intention list going into rehearsal. Do your intentions change every time or pretty much stay the same? Like mine, is your list really a combination of intentions and a code of honor/philosophy of acting? How has your list changed over time? Would you be willing to share?
And what do you think, people-who-don’t-consider-themselves-theatre-folk? Do you make a list of intentions before beginning a specific project or process? What might you include on that list?
As an actor and member of the ensemble, I will:
- Arrive on time to rehearsals (Note: On time = 10-15 minutes early).
- Get it done and move with a purpose – after all, we are on a short time-table. Learn my lines as quickly as possible so I can be off book. Learn my basic blocking as quickly as possible, so I can dive into more nuanced work.
- Take care of myself and my health as best I can (eat well, sleep, exercise, etc.).
- Have fun and laugh lots. This is a play, after all. It’s important work, but it’s just a play.
- Take responsibility for developing a multidimensional character with a back story and relationships, and commit to clarity of intention and meaning.
- Inhabit my character in the most truthful and believable way I can. Also, endeavor to be a bad-ass. [I don’t know exactly what I mean by that, but I think there’s a certain amount of bad-assery that needs to be present for actors. It’s certainly not arrogance or even confidence — maybe it’s about striving to be really solid and specific and fiercely focused. Or maybe it’s just a mind-trick to make me feel brave enough to get on-stage. I don’t know. It feels silly to write ‘be a bad-ass’, but it’s on the list.]
- Use my body as an acting tool rather than as a source for actor-inhibiting-physical-hang-ups.
- Stick to the words the playwright chose.
- Be mindful of vocal variety in pitch, tempo, volume, emphasis and rhythm, as well as diction, diction, diction. And more diction. And communicate.
- Be brave and honest. Stretch beyond what I think I’m capable of as an actor. Be open to direction, new ideas and improvisation.
- Be generous with my scene partners and seek out opportunities to connect as characters.
- Have meaningful conversations off-stage with everyone related to this production. We are a team, on-stage and off. Strive to maintain and cultivate relationships with everyone who has a heart for this work.
- Do my best to solve problems that are mine to solve. Try not to create problems for other people. Ask questions and ask for help from the appropriate folks at the appropriate time.
- Remind myself that I am one piece of a complex and complicated work of art. Given my part in this process, lots of stuff will go on that I won’t be able to see. I will trust, be patient and manage my confusion if it arises.
- Be thoughtful and aware of the message this play is sending to the audience; be mindful of how my values square with that.
- Maintain a positive attitude throughout the entire process, even when I am tired, even when I am worried that it won’t ‘come together in time’. Manage the anxiety that accompanies being vulnerable, being uncertain and being on-stage.
- Always remember that I also have an identity and an important life outside of the rehearsal room with people who love me and need my attention. Be present, available, attentive, and loving to family, co-workers, and friends. Make this process manageable for those around me.
- Say thank you out loud to everyone at every opportunity. Thank the actors, designers, director, production team, audience, my husband and daughter. Appreciate the gift this is, appreciate the gifts.
- Aim to do my best, strive to learn and become better. At the end of the performance run: I will feel proud of my contribution, people will want to work with me again, and I will want to do this work again.
Whew! As I re-read the list above, it feels daunting to even partially realize every bullet point. Yikes, can I do all that? Well, we’ll see. I’m game to try this experiment and see if having a pre-rehearsal list of intentions will make an impact on my experience. I’ll let you know how it goes. Thanks in advance for your support.
*Cheryl and I do give our acting ensemble a document that outlines our hopes and expectations during our working-time together. (That document also includes a list of what the ensemble should expect from us as directors/producers/playwrights.) However, it occurred to me that I’ve never created a personal list of intentions for myself as an actor…until now.