“And remember, this will all change once we get into tech.”
I’m sure I’m not the only director to have uttered these
words. It is a common refrain in my rehearsals. Partly because that’s the way
things work in Chicago storefront theater. The rehearsal room in a church is
often far different than the actual performance space. Once I misread the floor
plan wrong so not only was the blocking backwards, but inverse as well. But
because the actors were already on board with being flexible, we adjusted
quickly and went on with the business of performing the play. Some of my
regular collaborators have even coined a loving term for this notion: Yoga
Theater.
Taken out of context, people often laugh. The idea of doing
a show in “Yoga Theater” style, the way we would do a “clown show” or a ‘View-Points
show” seems a little ridiculous. And indeed it is. But the idea of Yoga Theater
extends beyond the practical definition above.
For me, the deeper meaning of Yoga Theater is to remain
flexible to what is really happening around you. Blocking should be dynamic and
responsive. Don’t just cross to your mark because that is what you've been
rehearsing for weeks. If someone forgot their blocking or, heaven forbid, their
lines, it allows you to play along with what they are doing rather than doing
what you've rehearsed because that’s as deep as you've thought about the scene.
Seems like common sense, but it is something that trips many actors up.
Now this doesn't mean that you have liberty to change the
blocking every night or that every night is a new exploration. An agreed upon foundation
of what is happening and why is essential for the whole ensemble’s
understanding of the show. But the nuances often change.
It is something that has to be agreed upon and built into
the process from day one. By working with this understanding and this
permission, the ensemble will develop trust and an understanding of how their
partners work. To call it something else, it is the Clowning idea of “the
partner’s perfect.” But you also can trust your partner is not going to leave
you onstage without generous proposals to respond to. The rest – the things
constructed in rehearsal – is simply constructing the safety net so you can
take more daring risks when you get in front of an audience.
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