I had an incredible rehearsal last Friday. It was so incredible (as was the weekend that followed) that I have been unable/unwilling to write about it until now.
But now I have homework looming in front of me and a script to go over (because my first theatre mentor said: Go over your script every every day) so, of course, now is the best time to write about it!
The rehearsal started off with just myself and the director. People think auditions are nerve wracking, and they are, but one on ones with the director are, in my opinion, even scarier; however that could just be me and my fear of disappointing people, so let's move on, shall we?
We started with the characterization of Viola/Cesario. My director (I'll just refer to him as D from now on, it's easier that way. #lazy typist).... where was I? Right. D had me stand on stage in a neutral position and then had me characterize Viola from the ground up. She stands with the weight on the balls of her feet, leaning forward a bit. She's curious and interested in people; she wants to help them. Her hands are clasped in front of her, right in front of the stomach. She's an optimist and tries to think well of all she meets. Her head is slightly cocked to the right; she listens to people, and is often amused by what she hears.
Viola came to me quite easily, which is odd, because for most of the play I am not Viola, I am Cesario. I had a lot of trouble with Cesario, and I still don't think I have him fully. This is Viola's attempt at being a man. At first I tried doing a John Wayne impression, but that didn't really fit the setting (1920s), nor did it fit the lines. Cesario retains Viola's love and interest in people, but she is able to be much more active and vocal as Cesario. I will continue to work on the characterization, but I do know a few things. The head tilt goes away; Cesario holds his head up high, except when he's around the duke, then it's bowed down a bit. His hands are either in front of his thighs or crossed. The shoulders are broad and the pelvis is thrust slightly. Now, this is probably not how a normal man would walk, but I'm doing a woman's caricature of a man. It's difficult, but I think I'm settling into it.
After that exercise, we started in on Viola's big speech. It begins "I left no ring with her. What means this lady?" As I was saying it, we did another exercise that is probably my favorite thing to do in the theatre. D would snap his fingers and I would have to change from Viola to Cesario or vice versa. So much fun! It helped me find places in the monologue where Viola is channeling Cesario and when she is being honest. I've taken that exercise and applied it to the entire play, so now I have a much better idea of when I'm totally committed to the role of Cesario and when I let him slip and show Viola.
After that, Olivia and Orsino came in and we worked the two wooing scenes and the two scenes where Orsino sends me to woo her. All four of those improved by leaps and bounds! We cleaned up the blocking and did some serious character work. I found that Viola has empathy for Olivia, she too lost a brother. Viola understands Olivia's mourning, and she also envies it, because Viola cannot mourn. She doesn't have that luxury. And in the second tete-a-tete with Orsino, I school the heck out of him. D made me sit for most of the scene and have Orsino stand, and I rule him with my lines. Even though I'm sitting for a few moments I have complete control and teach him a lesson he sorely needs. It is absolutely amazing!
And now the guilt of ignored homework as grown too great, so I must depart and be studious. Cheerio!
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