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Declan: Some effective work with Joey has taken place, he is adopting the style and character. Keep giving feedback on voice work and look to channel naturalistic responses, the moments where your actors seems sincere are those that he is fully confidant about. Impress the importance of reacting.

You keep notes and feedback at appropriate times. You must now focus on building the characters' relationships. Gave entirely appropriate feedback to Joey regarding reactions.

Keep focused on creating your own version of this piece and be true to the text. Some moments are static, which is fine, as long as the vocal delivery is more gripping. Alex has a reliance on the script and this is showing quite clearly how an actor who has the lines is more competent.

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Declan: Some effective work with Joey has taken place, he is adopting the style and character

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Declan: Some effective work with Joey has taken place, he is adopting the style and character

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Declan:

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Ria: after a break from rehearsals you have brought the actors together for a generally productive rehearsal. Substituting Gemma with a standin has meant the session has not been disrupted, your understudy is doing a very good job and I would consider using her as she is available and not restricted by dual casting.

You have a very supportive approach to the rehearsal and go through challenging sequences with the actors. Remember to be mindful of the subject matter at all times and ensure that it is not being overly dramatised, this subject is powerful when approached with sincerity and truth.

You are clear in all our communications but remember rehearsal techniques and convention- I.e reframing from always interrupting actors to give a note that could be saved for the end of the run through.

When giving positive feedback you must think about giving constructive useful suggestions to the actors, rather than simply "that was good"

Remember to be direct with your instructions, your know the text well and don't need to be apologetic when giving instructions.

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Molly: Your first rehearsal sees the repeat of some old habits that restrict the productivity of a rehearsal- namely the slightly messy approach to rehearsal to setti up a rehearsal. -see feedback from 20.3.17.

Much of the same material is run through, you work repeatedly on Daniels's section and then Georgia, however the piece needs to come together more cohesively- are you running through the piece in its entirety yet?
'Stop/start' in rehearsal can disrupt the actors ability to learn the piece- give time to run through and time to feedback seperately.

The quality of delivery for the actors is good and you are meeting the demands of some aspects of the text to some degree, however the classical 'Kane' style is abrasive and demanding to watch- I think the actors are becoming complacent with the subject material. Please look at introducing activities to rehearsal to address the style demands of Sarah Kane's work.

N.B- stop distracting other directors with 'banter'

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Lois: first rehearsal back and your cast are getting 'back into' the process of rehearsal, actors seemed generally prepared. You have a clear idea of what is meant to be happening, and despite only a few rehearsals you are able to recall and create new ideas.

You communicate well with your actors and show a high degree of empathy for the characters. To save time make sure you plan every stage of movement sequences before rehearsal, your ideas are fresh and you are accomplished at working through ideas with actors. Make sure all ideas are noted and documented effectively in your script.

Make sure your props are available for rehearsal.
You could develop a more confident manner to communicating your ideas, not all ideas need to be 'checked' with the actors, if you have a vision that works then follow it through to completion.

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Ria: if you have additional support of a spare actor, why not have them read in? While you spend your time reading in you cannot be making notes. A better use of your resources is needed.
Rehearsal is somewhat fragmented today, lots of pausing, and going over some of the same sections. A greater degree of productivity is needed. You spend more time reading in than making notes- please can you resolve this issue of the father role.

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Molly: try to set up a rehearsal space that is more conducive to an organised and effective rehearsal. Rehearsals are still a little too informal and need to move on from the 'cuddly' line reading stage.
Some small sections of really good rehearsal but time is not utilised fully.
Your actors are making notes and appear to be getting alot  out of the rehearsal, are you giving effective and useful notes?

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Declan:
Rehearsals are still very static, your cast do not seem to take initiative, and are relying on you too much, try not to direct students but direct them as actors, do not nit-pick, but view the overall piece. You are not meant to be helping them too much with lines, but rather working n the structure, form and story telling.
If an actor does not know lines then parroting them like this won't help.
Suggest drilling the lines and the scene and and stop sitting, gazing into your laptop,
is a waste of time.

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Lois:
First initial rehearsal in a long time, very much an 'exposition' to the actors.
A clear brief of the piece and what you're intentions are, however a fairly sedate rehearsal.
When giving feedback on characterisation, focus on the message and objective of the role and not on what you 'think' a boy should sound like. Aim for real reactions and the drive of desperation rather than cutesy.

The process of repetition is a useful tool to refine and sculpt a piece, get the actors to change up each time- especially with vocal delivery- intonation and modulation particularly.

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Declan

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motivationsRia: your actor doesn't understand objectives, she seems to only be going through the blocking you've given without understanding why. The movement should come from not simply from what you think looks good- because the actor is making disingenuous actions.

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Declan: working with only one actor and focused on the character work
You are very vocal and seem to work harder than the actor, there is more benefit for this type of play to allow the actor to run through.
Write down your notes that you will feed back so that you are capturing your ideas effectively.
Gave positive feedback, but try to provide tangible points for development, rather than 'that was good'
Set a deadline for line learning 20th March.
Actor attended rehearsal unprepared, without a script.
Please communicate your expectations to the actor before rehearsals and take responsibility for reminding them about what they need to bring to rehearsal.
Giving notes after each run through is good practice.
Use correct terminology with actors- pauses in delivery not 'breaks' .

Give more meaningful suggestions- your actor did not respond to the suggestion of movement at all- largely because you weren't specific enough.

Try not to use movement as a reason  for objective, objective should lead movement.

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Molly: first rehearsal back after an extended break due to other projects. Cast assembled to carry out read through, initial rehearsal is fairly static, needed encouraging to start rehearsal with blocking.

Your rehearsal would benefit from a clear structure outlined for the actors, try to avoid tangentising; stick to the plan and keep you actors focused on rehearsal, write down your notes and keep feedback for after the run through of that section, finally repeat  and refine.

A good rehearsal starter exercise will help, what is your style of performance and how can a starter help to get the actors to understand this style? - I suggest some choral activities for speaking in unison, and examine vocal delivery of heightened emotional states.

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Declan: the structure of your session was very pro-active. After initial discussion you had your actors up and blocking movements.
You allowed the actors to get through the dialogue, whilst giving active feedback to sculpt the scene.

Good general atmosphere and approach to leading your actors, you have a positive and productive energy. You tend to give notes as the actors are working- however to give meaningful notes some actors respond better if you allow them to complete a piece of dialogue before giving feedback. Interrupting does not support the actors in consolidating their notes.

You advise your actors to watch existing versions- this can be a good starting point, however are you certain thou want replications of existing performances? These actors may end up mimicking other actors rather than acting their own versions.
What is the benefit for the actors to draw up profiles?

You are also very positive and affirming with the actors and this is a nice aspect to your approach- make sure this is given where actors have been effective.

To develop further: continue your proactive approach - getting actors moving and embedding line learning into an active rehearsal can be a great approach for encouraging line learning.

Try to allow actors to mature an idea before jumping to give notes, how can you make requests of actors that isn't just demonstrating?

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Ria: after initial discussions setting out your aim, the rehearsal gets on its feet. You are restricted by being short of an actor (shared with another group) and so are reading in.
Free-form structure - you give ongoing notes to actors as they are delivering the piece. This can work- however can be frustrating to the actor, try another approach of allowing actors to get through a small sgroup cation, then give notes and then run that section again. The rehearsal must be meaningful for the actors, if they are not recording their notes on their scripts you will risk having to repeat your feedback in later rehearsals. An example of this is in the way you are directing Gemma to deliver an exasperated line- you demonstrate- try to find other ways to communicate this.
Sometimes demonstrating a line can limit the actors from delivering their own rendition.

Your approach is generally quite energetic and fast paced- this can be a good quality in a vibrant rehearsal however try to temper your exhuberanc by allowing time for notes, and for actors to ask questions; otherwise you run the risk of bamboozling the actors.

You have also 'sectioned' the text which helps for a well structured session.

To develop further: keep the positive and engaging energy but temper it with moments of reflection and note taking. Reading in for missing actors- can you get a stand in if your actor is unavailable? You are ,omitting yourself as a director ifyou  have to focus on delivering lines, you should use yourtime  to note take- write down any developments.

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Molly: distributed sections of script, you have managed to make some rough notes on the scripts and the actors now have access to this.
Advanced an idea for chalk writing - from a practical point of view it mitigates the problem of finding flats, from an artistic point of view it means the characters have their own 'zone' where they can write down their ideas- which links to real world application of art therapy in hospitals. Patients can express through art and writing how they feel.

You have a generally laid back approach to the session but there is a good form. You have a strong sense of what you want the actors to do; how they will speak and move.
To develop further, a fully effective rehearsal often needs pace and urgency- with the time restrictions we have you need to keep the actors (and yourself) on task; tangent discussions about tanning could be a costly distraction.

Getting the rehearsal up on its feet is a must - you give nice directions to how you want a piece of text delivered, you gave examples and action verbs. You must push forward with giving structure to the blocking.