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Proof In Rehearsal In Rehearsal is a clear and accessible how-to approach to the rehearsal process. Author Gary Sloan brings more than thirty years’ worth of acting experience to bear on the question of how to rehearse both as an individual actor and as part of the team of professionals that underpins any successful production. Interviews with acclaimed actors, directors, playwrights, and designers share a wealth of knowledge on dynamic collaboration. The book is divided into three main stages, helping readers to refine their craft in as straightforward and accessible a manner as possible: • In the world: A flexible rehearsal program that can be employed daily and over a typical four-week production rehearsal. • In Taylorthe room: Advice on working& Francis independently and productively with other members of a company, such as directors, playwrights, designers,Not and technicalfor crew;distribution how your personal creative process varies depending on the role, be it Shakespeare, musicals, film, television, or understudying. • On your own: Creating your own rehearsal process, exploring original and famous rehearsal techniques, breaking through actor’s block, and how to practice every day. In Rehearsal breaks down the rehearsal process from the actor’s perspective and equips its reader with the tools to become a generous and resourceful performer both inside and outside the studio. Its independent, creative, and daily rehearsal techniques are essential for any modern actor. Gary Sloan is professor of acting at The Catholic University of America in Washington, DC. He has been a professional actor for thirty years, performing leading roles in major theater companies throughout the United States. Laurence Maslon is an author, illustrator, and associate chair of New York University’s graduate acting program. Proof Proof Taylor & Francis Not for distribution Proof Proof In Rehearsal In the world, in the room, and on your own Gary Sloan Illustrations by Laurence Maslon Taylor & Francis Not for distribution Proof Proof First published 2012 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2012 Gary Sloan The right of Gary Sloan to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Sloan, Gary, 1952- In rehearsal : in the world, in the room and on your own / by Gary Sloan. p.Taylor cm. & Francis Includes bibliographical references and index. 1. Acting. I. Title. PN2061.S56 2011 792.02´8--dc23Not for distribution2011025865 ISBN: 978-0-415-67840-7(hbk) ISBN: 978-0-415-67841-4(pbk) ISBN: 978-0-203-14616-3(ebk) Typeset in Times New Roman by HWA Text and Data Management, London Proof Proof To My mentor, James Young For my Journey with Jonah Taylor & Francis Not for distribution Proof Proof Taylor & Francis Not for distribution “… the readiness is all.” William Shakespeare, Hamlet, Act V, scene 2 Proof Proof Contents Acknowledgments ix Foreword xi Prologue: hoodwinking Hamlet 1 PArt I In the world 7 1 The Taylorgivens of rehearsal: good& ground Francis 13 2 The four-week gig—act 1: the first two weeks 23 3 TheNot four-week gig—actfor 2:distribution weeks three and four 35 4 A creative process: six approaches 53 5 Get serious: seven ways 65 6 Living rehearsal: a 24/7 gig 74 PArt II In the room 83 7 Actor and playwright: the words made flesh 85 8 Actor and director: in the trenches 96 9 Actor and designers: a common purpose 111 Proof viii Contents Proof 10 Actor and dramaturg, stage manager, coaches and crew: a big tent 119 11 Shakespeare’s mountain of words: poetic language 128 12 Rehearsing the musical: an American original 143 13 Film, television: less is more 152 PArt III On your own 167 14 Practice your own rehearsal process: a declaration of independence 169 15 Reading and researching the role: rehearsal techniques 176 16 On your feet and in your sleep: more rehearsal techniques 188 17 Understudying:Taylor the readiness & isFrancis all 221 18 Actor’sNot block: for how professionals distribution break through 230 19 Rehearsing life: fake it ’til you make it 239 Epilogue 247 Bibliography 250 About the author 253 Index 254 Proof Proof Acknowledgments Determining whom to thank for the inspiration, experiences, and wherewithal to write this book is the kind of calculus equation that would take a person to the moon. Allow me a page to remember those who have recently and over the course of many years contributed to In Rehearsal. First of all, my thanks to Talia Rodgers and Ben Piggott at Routledge Publishing and to John Hodgson at HWA Text and Data Management. I want to thank Grant-in-Aid from the office of Graduate Studies at the Catholic University of America; also my CUA provost, James Brennan; dean LarryTaylor Poos and drama department & chairFrancis Gail Beach for granting me a sabbatical in the spring of 2010, during which time I charted the course of this book. I acknowledgeNot Christopherfor distributionWheatley and David Krasner for their experienced advice during my maiden voyage into writing. And from earlier days of our lives: Dick Willis for giving me my first rehearsal; James Young, my mentor who baptized me into the theater; and Nigel Goodwin for his crucial direction at my crossroad. To my teachers: Charley Helfert, who introduced me to the creative process, and Jack Clay, who introduced me to William Shakespeare at Southern Methodist University. Thanks to the late Jerry Turner from the Oregon Shakespeare Festival, where I began my professional rehearsal life, and to Christopher Martin, founder of CSC Repertory, who brought this actor to rehearsal in New York. I am grateful to David Leong, Ed Gero, and Beth Turcotte for their guidance during my academic sojourn and to Karen Giombetti for her important questions and crucial introductions during this process. My thanks to Bob Butler and Flo Gibson at Audio Book Contractors, Emily Morse of New Dramatists and Andrea Anesi Indexing. Thank you to Jim Brown for his work analyzing the University Survey and to professors Janet Zarish (NYU), Catherine Weidner (DePaul), Elizabeth Van den Berg (McDaniel), Mark Lewis (Wheaton), Luis Perez (Roosevelt), Stephen Satta (Towson), Erica Tobolski Proof x Acknowledgments Proof (USC), Elliot Wasserman (USI), Michael Tolaydo (St. Mary’s), and Alan Wade (GW) and their students, for participating in the survey. To Marietta Hedges, my admired colleague, for her dedication and insights to the actor’s process; Stephen Fried, for our rehearsal of Haunted Prince, the Ghosts of Edwin Booth; and to actors Hal Holbrook and the late Robert Prosky, with whom rehearsal was life-changing. To Eric Conger for early editing advice, along with Sherman Howard, Donna Bullock, Cain Devore, Keith Hamilton Cobb, Dan Southern, Casey Biggs, Conrad Feininger, John Reid, Eugene Pressman, David Leong, Barry Mulholland, Juanita Rucker, Kelly and Jane Cronk, Brian Reddy, and my eternal second, Gregg Mitchell, for your friendship and inspiration. I want to acknowledge Carol Gottschall Pfund for being the first to support my life’s calling; my brothers John, Bob, and Tony for your advice and confidence; Mom and Dad for your faith and work ethic, and Grandma Hoeflein for taking this little boy to seeThe Guns of Navarone. Thank you to all of the artists who contributed their experiences and thoughts throughout this book. I am honored that Zelda Fichandler took such a keen interest in this work and agreed to contribute a few of her insights into rehearsal and the essence of good theatre. I am deeply grateful to my children, Julia and Owen, for teaching me how to teach, how to love unconditionally, and how to realize the essence of life Taylorwhile I live it. Most of& all, to Francismy wife, Christie Brown, for your steadfast love, enlightened conversations, true partnership, and the spark that litNot the fire to writeforIn Rehearsal distribution. Proof Proof Foreword Zelda Fichandler Founding Artistic Director of Arena Stage, Washington, D.C.; Arts Professor Emeritus and Former Chair, Graduate Acting Program, Tisch School of the Arts, New York University Beginning I’ve now read In Rehearsal: in the world, in the room, and on your own, by Gary Sloan, twice—the first time when he invited me to join in with blurbs from others that are sprinkled through the book; remarks that respond to the actor’s process in preparing a role, and the place she occupies in the arduous, joyous task of making an artwork—a production. Later, Sloan asked me whether I would write the Foreword. I wanted to prepare for that to be sureTaylor I hadn’t missed anything, & and Francis I read the book again. He has so much to say that interests me. I found the book transparent and clear, written with simplicity and deep thought.Not Sloan’s capacity for for empathy distribution is admirable; as he himself is both a successful actor and teacher, he speaks with both experience and knowledge.