Looking back on the day I decided to blog about in an attempt to perceive things in a different light I also tried to incorporate the ideas of some of the thinkers I've been reading about recently.
Establishing why technical rehearsals are important instead of just plain tedious is something I feel every performer understands, they just don't want to accept it. We enjoy the freedom of what we do, to work something to death takes a little of the fun out of it. I think many performers feel their spontaneity is undermined by over-preparation to the point where everything is repetition. Ironically this is probably the most essential part of these rehearsals. As Twyla Tharp wrote, “...memory of movement doesn't need to be accessed through conscious effort.” something these technical runs prepare you for, they reinforce Donald Schon's theory of reflection-in-action by giving an individual a better supported understanding of alternatives should an in-action alteration be necessary. This benefits the confidence of the performer, not to mention the enjoyment of the audience who don't even realise they have witnessed a seamless correction of an issue they didn't even see. It's comforting to know that under scrutiny a technical rehearsal is far more than just making sure the lights and microphones work.
It's possible to apply just about every theory of education and learning to my role as wardrobe supervisor. Some things I knew before I started; use of a sewing machine, how to sew on a button or repair a seam, for example, however some things have been a steep curve of introduction. Repairing and re-gluing a show was quite self-evident, so there was no surprise when my first approach garnered success. I was taught how to replace a zipper (or 'fly'), therefore in that instance it was a case of assisted education that was reinforced and conditioned by repeated successful applications. The more interesting areas, now I reflect on the whole progression, were the areas of repair and maintenance that are not common in the ordinary world. Holes in unexpected places, unusual material all called for a trial-and-error approach a la Dewey, Lewin and Kolb (unless I fancied contacting the wardrobe head office on land every other day, which I didn't). True examples of Active Experimentation combined with Abstract Conceptualisation provided Concrete Experience that was easy to reflect on as my efforts were put through their paces not long after. Some things worked and were used again, other practices just weren't up to the task – almost an intellectual survival of the fittest.
I suppose the poignant issue to comment on my the performances that evening would be my reaction to those around me as circumstances caused them achieve less than their best but not be concerned by it – even to laugh at it. I don't doubt that my personal attitude is a bit of a hard line, although I would resolutely defend the idea that we have one shot with each audience every time we step on stage and that any mistakes are a tragic loss of opportunity. Looking beyond that, using the lens of Donald Schon and Robert Kottcamp's work, the same situation could be seen differently. 'Things' will happen and situations will inevitably occur: a dancer as part of a chorus, less in the limelight, relies heavily on 'on-line' thought processes and 'reflection-in-action' – they have no time to over-think as to do so would run the risk of over-riding their muscle memory and complicating the simple unison of body and mind. Their amusement at issues that arose and how they dealt with them, instead of being judged harshly, could be seen as their resignation to their autonomous adaptation (possibly also partially attributed to embarrassment) and their unwitting confidence in Kottcamp's idea that 'on-line' actions are, “...more difficult to achieve, but the more powerful for improvement of practice...”.
There's little that be said about having a small cabin to spend our time in, only the hope that spatial restrictions don't subsequently infringe upon the liberties of the mind.
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