Breakthroughs and discoveries in theatre rehearsals: an ethnographic study of Close Quarters

Abstract

This thesis contributes to the emerging field of rehearsal studies by examining the seldom-analysed (yet oft-referenced) moments of a text based theatre rehearsal where breakthroughs occur that advance the creative process. This thesis presents an original framework through which text-based rehearsal breakthroughs which concentrate primarily on the dynamic between the actor, director and text can be viewed, categorised, and ultimately analysed as ‘The Four Lenses of Breakthrough’. An ethnographic methodology is utilised to analyse data collected from a case study observation of the breakthroughs in the rehearsal period of Kate Bowen’s new play Close Quarters (2018). This thesis sharpens the language used to articulate these moments by creating a practical framework for rehearsal observation and analysis. The Four Lenses created are: (1) individual and small recognition moments that occur; (2) individual discoveries for actors and directors; (3) collective discoveries shared by actors and directors; (4) and, finally, a ‘wow’ moment shared by all, where all the variables coalesce. This thesis builds upon the work of scholars and practitioners whose objective has been to demystify the rehearsal period and to break apart the myth that the rehearsal room is a place of magic, and a mysterious place. With the expansion of rehearsal studies as a field within Western theatre, as well as performance studies since the 1970s, this thesis sits within the critical field of rehearsal studies, and argues for the importance of examining moments of breakthrough in rehearsal. The thesis attests that breakthroughs are unpredictable in a rehearsal period. Even with their ubiquitous occurrence in rehearsals, there is nevertheless a paucity in the literature of explicit analysis of breakthroughs; this thesis also draws together the extant literature as well as offering a new method of analysis.