Memorizing Script

 The rehearsal process is complete on this latest production. The final step for me was to go through my part, from start to finish, in mind.  Now, for good, or not, this is the process I use for getting the role in mind.

1) Read, and if possible, view the entire play.  I watch video and read the script.  All to get a sense of what it is about.  This, however, only gives me a general view of the piece.

2) The initial read-through by the entire cast is important because it gives the other characters voice.  It also begins to bring the script into focus, which is a slow process.

3) The next step, even as rehearsals begin, is a file, usually in a spreadsheet workbook format, that contains the script.  If a digital copy exists, even .pdf, it can be brought over to the spreadsheet.

4) My character's lines are then isolated in a column marked Me.  Other columns are "the other", moves (blocking), and initials, being the initial letter of each word of my lines.  This may be seen as time consuming, but it is worth the effort.

5) The entire role, including preceding and succeeding others, is then audio recorded. The cue lines (from other character to mine) are recorded as are the next line after my lines.

6) That file is edited, deleting my lines but leaving a silent space for them to be read/recited off mic.

ASIDE: in capturing and recording the script, only the preceding and succeeding lines are displayed and recorded along with my lines.  All others are indicated by name only.

7) Then the rote begins, and continues daily, even 2x or 3x per, until the play is ended.

8) Rehearsal brings in the blocking, which is added as notes in another column.  It also allows one to develop interactions with the others; as in, do I like/dislike, admire/abhor, love/hate them, and why? In fact, the relationship lies on a continuum from one extreme to the other and can change during the course of the action.

9) Monologues may require additional emotional content and, therefore, can be copied into their own file for study purposes.  They may take more time than the rest of the script due to their emotional arc.

10) A cryptic outline of my part is then compiled/written/derived, to cue lines and allow the flow of the scenes to be "seen" in short form.  It can include hints for action/movement for quick reference during the beginning phases of rehearsal, then used off-stage when working "off-book"

11) The rote is repeated daily until the whole thing is in mind, clicks.

12) It is repeated/ reviewed before each performance and even on off-days.

At some point, it all will be in mind to the point that it is no longer necessary to keep the rote going.  It is, however, good to refer to the cryptic outline to avoid omissions and errors in blocking until the actor is absolutely sure of it all.