Wednesday's rehearsal was extremely productive in terms of incorporating acting and blocking changes based on the feedback we received last Friday. We also went through each transition and worked on the timing using music.
I was very surprised to find that the timing of each transition, as we had been running them without music, matched the music I edited almost perfectly. There are a few transitons where the music ran longer than the transition. I am taking these as opportunities to milk the transitions for what they can convey (changes of breath, body, and attitude). For example, in the transition out of August: Osage County and into Desdemona: A Play About A Handkerchief I morph from one character to another in a single area of light. The amount of time that the music gives me to make this transformation is luxurious enough to allow me to change my body, breath, and attitude and even live in my new character (Emilia) for a beat before the dialogue begins. Silent stage time can be very scary. Actors often rush through silent moments because they feel the need to "perform" and fill the void left by the lack of dialogue, but I aim to embrace the silence and fill those times on stage with very clear physical and emotional reality. In most cases during this piece the most important moments--when characters are established--occur in silence.
Also taking place in silence are the statue moments, which we will be working extensively this Friday. I secured the dance studio for an hour and intend to work the moments leading into and out of the statue moments until the breath, length, and stillness of these moments are ingrained in our bodies' muscle memories. Using the mirrors to gauge how breath effects our bodies and what kind of stage pictures we create when moving in and out of the statue positions, I will have a better idea of the overall look of the piece. I want everything to look clean so it is important to me that I know how these moments work from an outside point of view.
On a more technical note, I have met with the lighting designer and explained to her what my lighting needs will be. In this discussion I realized that I would need two of the areas of light to have two sizes associated with them (something I hadn't formerly thought about since I thought I was being ultimately clever by staging a lot of the action in specific areas--little did I realize that lighting three people in one area is different from lighting only one person!). Luckily I am working with a very knowledgable lighting designer and I have the utmost confidence in her ability to make happen what I described to her.
On another technical note I have ordered the unitards and they are due to arrive on Saturday! If they are a complete disaster (wrong sizing or see through fabric) I should have enough time to order a different brand before the show. Fingers crossed that these first ones are perfect though! I would rather not cut it close with a second order. All props have been acquired except for 2 handkerchiefs which I will ask the costume shop for tomorrow.
I can't wait to get the lights hung this weekend and see what my stage will look like with bodies and lights and costumes! Exciting!!!
Speaking of exciting, look how excited this dog is to be wearing glasses!
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