A Methodology for Rehearsal

There is a fundamental dichotomy between the nature of perception and the words with which we clumsily attempt to define our perceptions – a dichotomy at the core of all art and one that is aptly recognised in the above excerpt from Will Eno's 2004 monologue Thom Pain (Based on Nothing). We lack the capacity to do justice to our experiences by recounting them verbally and, as a result, we encounter difficulties when trying to define any emotional experience. However, describing emotional involvement lies at the heart of the analysis of theatre. That some theatrical experiences remain in our memories long after others have faded away is not simply a matter of personal taste, but an indication of how physically and mentally involved we felt at the time as spectators.

The analysis of rehearsal process in theatre studies is a relatively new field. It focuses on an examination of how artistic creativity evolves primarily from active discovery; by delving into the ways in which inspiration and intuitive response shape a theatrical piece we can obtain an understanding of its artistic value. Solutions to practical problems, then, result from actively doing rather than merely talking. The practitioners I refer to throughout the book repeatedly claim that they always prefer to stand up and do things, to try ideas out and not just talk about them.