Writes Cheryl Clarke, Director of Drama
The initial part of the rehearsal process involved reading, research, character exploration and blocking. The boys then developed their work learning many transferable skills along the way. The performances included extracts from challenging GCSE texts such as The Importance of Being Earnest by Oscar Wilde, The Dumb Waiter by Harold Pinter and Stoppard’s Rosencrantz and Guildenstern Are Dead.
Pictured are Harry P. and Monty H. (5ths) performing in Journey’s End by R. C. Sherriff.
They review their rehearsal process below:
Writes Harry P. and Monty H. (5ths)
Our process began with textual analysis, exploring the social, historical, and cultural context of the play to ensure an accurate portrayal of life in the First World War. Transitioning into character development, we then engaged in comparative character exploration to decide the characters to which we were best suited.
In the rehearsal room, we focused on physicality and vocal expression, refining our characters' movement and experimenting with pitch and tempo to reflect emotional shifts.
We mapped out the stage, making deliberate decisions about proxemics to highlight the changing power dynamics between our characters. One of the most important aspects was considering our dramatic intentions. Throughout the rehearsal process, we were encouraged to always consider the intentions of our acting choices; every word, facial expression, and movement could aid the portrayal of our characters. Unlike in full-length school plays, we had more time to perfect shorter extracts down to the most precise details.
Towards the business end of rehearsals, we began to consider costumes and props to use in our piece. Given our play’s setting of a cramped First World War dugout, we decided to bring in a variety of props to add to the claustrophobic, uncomfortable environment of the piece. Not only did we have to consider what props to bring, but also our physical interaction with props and their positioning on stage. This was an interesting and fun part of the project as in school plays, these aspects are usually in the hands of a director.
