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An original idea or concept is "structured" or written down as a play, or scenario, or as an outline in a script. This makes it easier for the persons involved in the production to better interpret the "original" idea. This "first" idea may have originated from one person, or from a group of persons working in a collective effort. Even then, this "first" idea is not final as it moves from one step to another. It is ideal for playwright and director to have a working relationship in the mounting of these plays. But this is not always the case.
The play or script is then "realized" by a "community" of artists led by a Director. He is assisted by many other artists working interactively to concretize the writer's intent and meaning. Among these persons are the designers (costumes, lights, sets), musicians (composer, arranger, performers, singers), choreographer, actors, dancers, and a staff led by the Stage Manager, Production Manager, the Technical Director and technical staff, Production Assistants, and those who take care of the administration and business of the project.
Rehearsals take several weeks. Not only do the actors and performers rehearse their parts, but the people involved in production are in conscientious work as well. Problems are solved, potential problems are foreseen. The objective of the project is to put the meaning and the experience intended in the "first' idea to be as clear and effective as possible to a potential audience. Along the way, this potential audience is also being built up by a staff that takes care of the marketing, promotions and ticket sales of the production.
Rehearsals being problem-solving efforts will often be influenced by a process of trial-and-error, but this is diminished because of the experience of the artistic community in the production. Still corrections and adjustments are inherent along the way. This is one reason why trial performances are necessary in any production, especially new and original ones. Note that this is an artistic process, a highly evocative and subjective process much unlike the logic and formula-driven course of Science.
Depending on the type of group or company that produces the production, the time spent on producing a play or a live performance will vary. One important factor too is the type of production a company puts up. Obviously, a musicale will take a longer time to produce (much expensive too) than a three-character play.
Once the production is almost ready, some companies go through trial runs. This is when a token audience (sometimes friends of the company) see the later part of rehearsals or view what looks like dress rehearsals - very rough and unpolished runs. This allows some critiquing and the chance to correct defects. Bigger companies will have the opportunities to hire "Script Doctors" to improve the script. We do not have such luxuries here. We have to live with the critiquing of our friends.
The production is finally tested with a live audience. The opening night (or premiere) is the most stressful of all the nights of this community of artists because another community - the "community of the audience" is there to judge the final "product". The stress is understandable because much effort, time, not to mention money and resources, have been expended to produce the performance. Any artist can feel the frustration when the audience laughs when the intention was to make them cry.
The process of production does not end in the performance. Post performance evaluation to correct defects in the play and to iron out kinks in production (technical, administrative, business, and the like) need to be met. It is common that a production changes along the way even during the time of performance. This has been true for most productions even those in commercial theater districts like Broadway in New York and the West End in London. In this country, we do not have this luxury and will have to depend on the next run of our play - that is if an audience thinks that our play is worth re-running again. |
