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‘Nothing in the world can bother you as much as your own mind. In fact, others seem to be bothering you but it is not others. It is your mind.
Dali Lama
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In development
Rehearsals can be exhilarating, exciting, inspiring, and I’ll leave you to fill in the blanks with all the other emotions and thoughts rehearsals can bring. It often involves working intimately with people you have only just met and can be emotionally and physically tiring. This means it can be useful to have a way to check-in with yourself before and after rehearsals. Often the director may do a company check-in, but it’s also useful to take a small amount of time to ‘check in’ with yourself.
Why Self Check-In?
Before you join a rehearsal space, it is helpful to understand what you are bringing to the space – for both yourself and others. You can then know what you might need to support yourself emotionally, physically, and energetically before stepping into rehearsals. You can also recognise whether you might need additional support from the group or from the Director.
Self-Check in idea
Find a moment at home or just before you step into rehearsals to check in with how you are feeling. Here is a brief video on how you might check-in.
‘If you understood how frequently people cope with trauma, fears and guilt by projecting onto someone else, you would learn to take almost nothing personally.’
@letstalkmentalhealth
Group Dynamics
Being in a group will always involve some negotiation; there will always be a mixture of personalities – especially in theatre, which is what makes it so beautiful. Everyone arrives with their own unique cultural and social background, and acknowledging this is important. We filter most of our decision-making processes through the experiences we have accumulated, which means we will all have different opinions and views.
Points to Consider
We all have good days and bad days, and we don’t always know what is going on in other people’s lives.
Most people don’t intend to cause upset.
We all have different ways in which we create safety by being in control. These are called Theories of Control.
Examples may be:
‘If I am organised then I will feel safe’
‘If I make everyone laugh then I will feel safe’
‘if I show everyone how confident I am then I will feel safe’
When we are out of our comfort zone (in an audition room or rehearsal space) this is normally when our Theory of Control kicks in.
We all have them and they are all different!
Just know that most people's behaviour comes from trying to feel safe and in control – however annoying it may appear on the outside.
What role do you normally play within a group? Can you challenge it? If you usually take the lead, can you allow others to? If you are usually more reticent, can you be more vocal?
Be aware of whether everyone’s voice is being heard within the group.
Be curious, be compassionate, and be willing to compromise.
Communication
As actors we can often fall into the trap of believing that because we spend a lot of time being with others and expressing ourselves on stage or in film we are good communicators.
I've been in enough rehearsal spaces to see that this is not always the case!
I've also had to and I am continuing to try and learn about how my communication style helps and hinders myself, as well as others in rehearsals and in all forms of work.
We often talk about the importance of good communication without ever fully exploring what this actually means. We also all have a tendency to believe that our personal style of communication is the best form. My husband and I can attest to this! Joking aside, it's taken a long time to appreciate and learn that we have different styles.
Be gentle and curious...
Communication is not a subject we are formally taught or normally discuss. We normally pick up a lot from our parents. The good, the bad, and the ugly!
So, we are all continuously learning as we navigate through our interactions.
In a nutshell...
Communication involves attempting to convey a concept or idea from our minds to someone else's.
The challenge often arises from assuming that others can understand our feelings or thoughts, particularly when we are experiencing intense emotions.
It can be difficult to grasp that the other person may not be perceiving or understanding our emotions or thoughts.
Communication Style
Our communication style is deeply intertwined with our sense of safety in the world. How we communicate has evolved through our upbringing, cultural and social norms, and our individual experiences. It's crucial to recognise that everyone's communication style stems from this foundation, which can help reduce tendencies towards self-blame or blaming others. Additionally, it's important to understand that we can shift between various communication styles and actively work towards enhancing our own style.
The Swan
The Swan tends to be unaware of or ignores their thoughts and feelings, making it difficult for them to identify their emotions accurately. They often avoid conflict at all costs, which can result in their needs going unmet and a lack of awareness of their own needs. Like a swan, they may project an outward appearance of calmness and ease, but beneath the surface, they may be struggling with anxiety and concerns about others' disapproval.
The Rhino
The Rhino is adept at expressing their thoughts and needs but may dominate conversations and activities, appearing inflexible in their approach.
The Hare
The Hare struggles to articulate their thoughts and feelings, leading to frustration and resentment as their needs remain unmet. Like a hare, their internal thoughts may be scattered, and their communication may come across as indirect, critical, or even sarcastic. They may also resort to using the silent treatment, leaving others confused about their intentions.
The St. Bernard
The St. Bernard is a confident communicator who is open and clear in expressing themselves. They assert their needs without imposing them on others and are considerate of others' needs, seeking consensus in group settings.
Tip
Use "I" Statements to Foster Positive Communication:
Start with "I feel..." to express your emotions clearly. "I" statements encourage open and honest expression of feelings, laying the foundation for empathetic communication.
Describe the specific behavior or action that is affecting you. This helps avoid misunderstandings by providing clarity and context to your feelings.
Avoid blaming others and focus on your own reactions. By taking ownership of your feelings, you promote accountability and reduce defensiveness in the conversation.
Provide examples to illustrate your point effectively. Concrete examples make it easier for others to understand your perspective and empathise with your experience.
Clearly communicate your needs and expectations. "I" statements allow you to assertively express what you require from the other person while maintaining respect for their autonomy.
Maintain a calm and respectful tone throughout the conversation. This promotes a positive and constructive dialogue, fostering mutual understanding and trust.
Practice active listening and acknowledge the other person's perspective. By genuinely listening to their viewpoint, you demonstrate empathy and create a supportive environment for meaningful communication.
Play Dynamics
Character Merging, also known as Bleeding, occurs when an actor encounters difficulty in distinguishing between themselves and the character they are portraying.
This can sometimes extend beyond individual performance to affect the dynamics within a group. In these instances, it can become challenging for actors to disentangle their personal identities and relationships from the Given Circumstances of the play.
Within a theatrical context, it's crucial for actors to remain mindful of their emotions towards fellow performers and the group as a whole. It's possible for feelings to become intertwined with the characters portrayed by others, blurring the line between fiction and reality. This can lead to misunderstandings or conflicts if not addressed effectively.
Recognizing and addressing Character Merging is essential for maintaining a healthy and productive creative environment. By acknowledging and understanding the phenomenon, actors can strive to maintain clarity in their interactions both on and off the stage, fostering a deeper understanding of the characters they portray while preserving the integrity of their personal relationships.
Example
An actor was cast in a play set in Victorian England, where the characters were separated into different social classes. They observed that during breaks, actors tended to cluster with those who shared scenes or portrayed characters of similar status or class. This grouping into cliques led to increasing tension and some conflicts within the company throughout rehearsals and into the run.
To mitigate such conflicts, it's beneficial to address potential dynamics early on in rehearsals and explicitly acknowledge them. By discussing the thematic elements of the play that may contribute to these divisions, such as class disparities or power struggles, actors can better understand the underlying reasons for their behaviour.
Bringing these dynamics into conscious awareness allows the cast to proactively address them, following the principle of name it to tame it.
Additionally, implementing practices like de-rolling (see performance section) after rehearsals and performances can be a useful tool and support. De-rolling involves consciously shedding the persona of one's character and returning to oneself, helping to prevent lingering tensions or conflicts from carrying over beyond the stage.
By encouraging open communication and awareness of these dynamics, casts can work together to create a more cohesive and harmonious working environment, ultimately enhancing the quality of the production.
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