For those who’ve seen a vanilla performance of our current Open-Ended Run (if not, do drop by on Sundays @ 1 PM PT), one of the things you might note is the meticulous analysis that was put into creating the dramatic interpretation behind the acting. Methods in directing on the virtual theatrical stage vary–but, I prefer it such that the character’s personality can be cogently presented through voice only, and the rest, the visual adornments, merely help embellish the role.

In general, I ask actors who make the cast to spend some time analyzing the playscript, especially with regards to scansion and their own close reading. We use several versions of the playscript through the production, starting with a version with emphasis on language and interpretation (one for the actors to mark up themselves, and one with my own interpretation), before finally moving onto the final script, paginated at a page per minute with stage directions. A well-rehearsed role is not merely a reading, but an enactment, where you’re living through the life of your character via your unique portrayal of the script.

I also post some supplementary notes on the blog. Here they are for each Scene of Twelfth Night, Act 1:

1. Orsino, Valentine, Curio.
2. Captain and Viola
3. Toby & Maria | Toby, Maria & Andrew | Maria & Andrew
4. Orsino & Cesario
5. Feste & Maria | Feste & Olivia | Malvolio, Feste, and Olivia | Malvolio and Olivia on Announcement of Cesario | Cesario & Olivia | Malvolio & Olivia Reprise

The point is to have you gain an understanding of the character that is coherent with as much of the play as possible.

Tags: Analysis Recap