I always feel like I'm rehearsing. I'm a workaholic. But youve got to let go and trust and enjoy! I'm a real perfectionist. Its probably my biggest disadvantage. But as long as I can go out there, trust in the work and just have fun, thats what matters.
So far I had been travelling alone with my handbook and my Western Railway timetable: I was happiest finding my own way and did not require a liaison man. It had been my intention to stay on the train, without bothering about arriving anywhere: sight-seeing was a way of passing the time, but, as I had concluded in Istanbul, it was an activity very largely based on imaginative invention, like rehearsing your own play in stage sets from which all the actors had fled.
An actress reading a part for the first time tries many ways to say the same line before she settles into the one she believes suits the character and situation best. There's an aspect of the rehearsing actress about the girl on the verge of her teens. Playfully, she is starting to try out ways to be a grown-up person.
Too much horsing around with unrealistic stances and classic forms and rituals is just too artificial and mechanical, and doesn't really prepare the student for actual combat. A guy could get clobbered while getting into this classical mess. Classical methods like these, which I consider a form of paralysis, only solidify and constrain what was once fluid. Their practitioners are merely blindly rehearsing routines and stunts that will lead nowhere.
On indies it's hard to do, but in rehearsals, you make mistakes in rehearsal. It's really hard rehearsing a play or what rehearsal you get on any movie. That's where you get to make your mistakes, and you make big ones. So when you shoot [the movie] or you finally get the play in shape and do it, the mistakes are out of the way. If you're not afraid to make mistakes, then there is no writer's block or actor's block.
I've been on the road for so long that it's a part of my being. Even after all these years, I love playing. I love recording. I love writing. I love rehearsing. I love touring. I love all that stuff.
If one sits down and concentrates on imagining the worst possible surroundings for rehearsing a musical show, it's never as bad as the rehearsal rooms one actually lands in.
Seal my lips on aches and pains. They are increasing, and love of rehearsing them is becoming sweeter as the years go by.
A nap is not to be confused with sleeping. We sleep to recharge our bodies. We nap to care for our souls. When we nap, we are resting our eyes while our imaginations soar. Getting ready for the next round. Sorting, sifting, separating the profound from the profane, the possible from the improbable. Rehearsing our acceptance speech for the Nobel Prize, our surprise on receiving the MacArthur genius award. This requires a prone position. If we're lucky, we might drift off, but we won't drift far. Just far enough to ransom our creativity from chaos.
Beethoven and Wagner for many years wrung our hearts. But now we are sated with them and derive much greater pleasure from ideally combining the noise of streetcars, internal-combustion engines, automobiles, and bust crowds than from rehearsing, for example, the 'Eroica' or the 'Pastorale'...away! les ust be gone, since we shall not much longer succeed in restraining a desire to create a new musical realism by a generous distribution of sonorous blows and slaps, leaping numbly over violins, pianofortes, contrabasses, and groaning organs, Away!
Acting is rare. You can be rehearsing Ibsen with Sir Richard Eyre and suddenly he has to take a call on his mobile telling him his friend Arthur Miller has died. Or you can come back from a job on the Isle of Man to be told by your agent you're going straight out to South Africa on another shoot. There's not even any time to wash your pants.
Taking on an iconic character is difficult, sure, people associate different actors with a character that you're playing, but there's something in rehearsing and developing a new character.
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