Page 222 - YB1965

The preparation begins with readings in the quaint little room that none of us will ever forget-the incongruity of the fur- nishings with its faded rug, odd figurines, bare stools, desks, mirrors, reproductions of rare paintings, and the hundreds of playbills and posters-the little room which seems attuned to instant change for, as the readings progress, it becomes our imaginery set, giving us so much that the jolt to the actual set upstairs is hard at first, not quite as we had pictured it would be. At length the blackings and reblock- ings become smoother as we adjust to real furniture, doors, rooms, and telephones. The techniques, the methods, have given us everything-stage presence, correct fol- low-through of action and gesture, well modulated voice--except our character. Two weeks before curtainup the joking stops, and only occasional nervous laugh. ter breaks the tension of concentration. Alone, each of us rereads our parts; we attempt to analyze its psychology, we ex- periment, we loosen up, we try control. A misty figure taunts us, focuses slightly for "Hot on the heels of Stanley Underdown... " a moment, goes laughingly back into the shadows of our mind, and then one day steps forward with authority. Now we can relax and submit our Iacitlities to the soul of the character. Make-up, costumes, props, lighting, a deep breath, and the curtain rises.