Patricia Helsel
Ionesco: Working Process
Two entirely different plays, presented on one stage, in one evening. The two one-act plays were rehearsed nightly, separately. Each play required a completely different rehearsal technique.
With The Bald Soprano, the actors experimented with exaggerated, often mechanical movement. The set was a very long thrust, always challenging the director to avoid flat configurations of actors, perceived from the side seating. From the center seating area, the depth had potential to bury actors. Ultimately, both plays required blocking that was often dance-like, incorporating choreographed movement to achieve a continuous flow. The calculated movement became a springboard for the beginning actors, who comprised the cast, allowing them to focus on language and thought once the movement was in place. A British dialect was necessary to convey the underlying theme of dull British convention. I coached actors throughout the process.
The Lesson was performed almost entirely by two actors, though the third actor is intimately involved in a couple of scenes. The beginning of our rehearsal process was devoted to developing trust between the actors in order to encourage them take greater emotional risks, necessary for a play with such heightened dramatic circumstances. We experimented with the power play between student and teacher, trying different tactics to achieve superiority and vulnerability for each character. The maid also assumes different positions of intimidation and submission, a vital character who allows the Professor to be relieved of his usual superior confidence and security.
