Thursday, October 19, 2006

Entry #3

Here's something that should provide some insight into Richard's rehearsal process: the stage management book.

Richard's rehearsals begin with full tech. That means costumes, sound, props, a full set and lights on day one. For three-and-a-half months, these elements will be revised, reworked, and re-envisioned.

The script itself, as it exists now, is based off of the video. What is spoken by the actors in the video and what is seen onscreen appears in print; the handwriting is the stage manager's notation of the movement of the live actors.

That's fairly straightforward. But now we get into Foremanland: the colored stickers are a way of notating the 215+ audio tapes that are available to Stage Manager Brendan Regimbal. The white numbered stickers refer to the current lighting cues in place. The stars indicate the use of flashpots, the fly system and motors for the propellers on the airplane. A lot to track, quick someone buy this kid a drink.


Blogger vigatsa said...

Jeffrey Jones writes: "Your experience of a production by Richard Foreman or Elizabeth LeCompte stands or falls by what you make of Foreman or Le Compte themselves (which is to say, the context" (American Theatre, Oct. 2005). As critic concludes this can be considered as a successful move to contemporary visual arts contextual quality rarely seen in theatre. Opening the rehearsals with full tech and eventually re-working it out along with the unwritten play itself is another proof of it. And in modern plays, as Brendan Regimbal, the stage manager, mentioned recently, there are no main characters anymore. Following this system either director too should be excluded in the wake of new theatre or actors be dead and become a collective, a group of assistant artists in the wake of a director as visual artist.

2:09 AM  

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