Rehearsal 9 and 10

This rehearsal saw the completion of the detailed scene work on Act 1 and starting to do this work on Act 2

Act 1, Scenes 12, 13, 14, 16

Started work on Act 2 and worked on scene 1, up to page 75 then some work on p.86 – 89 and p.90 – 92 and all of Scene 5. 

Rehearsal 8

Overview

• Warm Up
• Status 
• Detailed scene work

After a warm up we focussed on status. We discussed the importance of giving status as well as playing status. It is important to delineate clearly all the various layers of tudor society and allow this to inform physicality and physical interaction with other characters.

The whole company experimented with playing characters from each of the 6 layers of secular and religious tudor society.  

Actors tried to incorporate their discoveries into their work on scenes.

Diagram of Tudor Social Structure
For more information:
http://www.historyonthenet.com/Tudors/society.htm

The detailed scene work was on Act 1, Scenes 8, 9, 10   

Rehearsal 7

Overview

• Warm up
• Line by line story
• Detailed scene work

This was the first rehearsal after a two week break. The company lead their own Warm Up, a physical stretch and then a song and dance game.

The company tell the story of the play adding a line or so each. The exercise is useful for everyone to reconnect with the play and what its about, its story.

• Do we know the journey of the play? 
• Do we know the story? 
• Do we know parts of the story we are not telling?

We should know which part of the story we are telling and how we fit into the whole

Detailed scene work on Act 1, Scenes 4 to 7

We considered what relationship Cromwell and Wolsey have and what they might think about each other.

Cardinal Wolsey

Thomas Cromwell

Rehearsal 6

Movement Continues

This was the last rehearsal before a two week break. It was a choreography rehearsal with the movement director. 

The rehearsal took place in the theatre space. This was a great opportunity to gauge the actual size of the space, particularly useful whilst working on movement sections so that thought could be given to  spacing.

Videos from this rehearsal are on the rehearsal video page.

Rehearsal 5

Overview

• Detailed scene work Act 1, Scenes 1 and 2 
• Rehearsal task - fact and questions lists
• Rehearsal task - Act and Scene titles

Following a physical warm up the company began detailed work on Act 1, Scenes 1 and 2. These two early keys scenes introduce us to the two of the three worlds of the play, Anne's after life, and the world of James I reign.  

There were two rehearsal tasks set for the company;

Task 1 - Four Lists

1) Facts about what exists and has happened before the action of the play commences.
2) Questions about what exists and has happened before the action of the play commences.
3) Facts about the immediate circumstances of the first scene.
4) Questions about the immediate circumstances of the first scene.

Task 2 - Titles

Label each Act and every Scene with a title. Something simple that summarises what happens and that allows the scene titles to offer a through-line of the play and give an insight into what the play is about.

Rehearsal 4

Movement begins - A post from Movement Director and Choreographer Ben Redfern

• To choreograph the celebration dance in Act 1
• Begin work on the opening of Act 2

We started the rehearsal by teaching a basic step used in a galliard. This renaissance dance was very popular at the time and consisted of many leaps, kicks, jumps and hops and is very energetic. The dance is counted in 6. The major recognisable counting of a galliard is in the final two beats of the bar. The step we used a the end of each movement of music is called a cadence and is a large leap and landing on one leg. So that is 4 straight beats/kicks then a leap and land.

We then looked at various patterns we can make using this step; boys on one side of the stage and girls on the other, moving between each other, forming a circle, women circling men, men circling women, etc.

While thinking of the steps and the patterns the actors need to think of their characterisation. The dance is a fun celebration (almost show off!) so this needs to be seen. Men and women must think about posture. Elongation of the spine, lifting from the ribs, shoulders down and open across the chest.

We must now focus further on a lightness of spring in the galliard, interaction between men and women and a sense of fun.

Working on the begining of Act 2 required just two of the male actors. The feel of the dance between the two men should be flirtatious and intimate. We started with the entrance of both characters and looked at how a man would imitate a women in this period as the character is cross-dressing. Looking at feminine poses, gliding steps, reverences and partnered lifts.

Rehearsal 3

Overview

• Complete rough block of Act 2
• Three facts exercise, the world of the play.
• Emotions and movement

The rehearsal started by completing the rough block of Act 2. This is a great place to have reached as it beens every actor has been able to physical move through their own scenes and has a vary basic physical framework of the whole play which can be used as foundation for all other work on character, relationships, voice and movement.

Once the rough block was complete the company undertook a research task in small groups. Each group had to take one of the years that the play takes place in and find out three facts about their allocated year. The years being 1526, 1533, 1536 and 1603.  

1533 and 1534

1526 and 153

1536 and 1603

The three facts exercise was way to really try to use research to gain an insight into the world that the characters in the play are inhabiting and how this may effect their choices, their behaviour, their relationships. 

The last exercise of the rehearsal was exploring emotion and how this impacts on physical choices for a character by exploring how we have responded physically to specific emotions in our own lives.

Rehearsal 2

Overview

• Head, Heart, Guts and Groin
• Rough Block Act 2
• Contextual Research

The rehearsal started with a practical physical exercise that was aimed at allowing the actors an opportunity to make practical/physical explorations and decisions about character. This work focused on Head, Heart, Guts and Groin. We discussed what types of people and emotions we might associate with people who strongly identify their behaviour or characteristics with these areas of the body.

Head, intellectual/rational/imaginative 

Heart, loving/emotion/integrity/honesty

Guts, appetites/anger/aggression "gut instinct"

Groin, animalistic/sexual/survival

The actors explored moving with their focus on each of these body parts respectively exploring how 'leading' with each one could effect physicality, movement and voice.

In the same way as we had with Act 1 we began a rough block or 'walking read' of Act 2.

We finished the rehearsal with a sharing of some contextual research that the company had undertaken. We divided this roughly into Historical, Social, Political and Cultural, acknowledging throughout how many of the facts overlapped and encompassed several of these contexts at a time.

Some detail has been lost, but it gives an idea of some of the areas the
discussion covered and a useful prompt into more research.

Rehearsal 1

Overview

• Proxemics and understanding the space
• Laban character warm up
• Rough Block Act 1
• Questions

The cast spent some time considering and exploring the thrust stage configuration that we are working with. They were encouraged to find 'hot spots', places where a particular relationship could be established with audience and fellow actors. This was explored further improvising short scenes between characters with specific given circumstances; a couple on a first date, confronting a partner who's been unfaithful.

The cast then worked through the various Laban forces as an immediate and physical way in to characters. This was to offer the actors the chance to have something to use physically in the rough block/walking read.

The company then started working through a rough block or 'walking read'. This allowed the actors to physically see who they are on stage with, to understand their own physical journey through the play, to start to make simple decisions about proxemics and physical relationships.

The rehearsal finished with a discussion about what questions we believe the play is asking of an audience

Questions suggested included: 

• How far are people willing to go to get what they want? 
• Who has ultimate power over a state?
•  Does religion do more bad than good? 
• Is the traditional/perceived view of Anne Boleyn the right one?

This led on to a question asked by James I at the end of the play:

"Why is it that all we do in the name of God is always exactly the same as as what we do in our own self interest?" page 115

This seems to encapsulate much of the discussion and the other questions suggested.