This far on in the production process, most of the play has been established. At this rehearsal the actors and the director discussed the run they had had previously and worked on ironing out the gaps in the play. They realized that to smoothen the flow, they needed to add a filler scene that would help things along. They talked about what ideas needed to be represented in that scene and then worked on devising it. They chose to represent the main themes of technology hindering human interaction, and tie it to the walking path culture. The actors, in twos and threes, were tasked with coming up with three moments that occur on the walking paths where phones interrupt the calm and create a distance in relationships. After the actors presented their ideas of exercise and relaxation, three scenarios were chosen to be put together to create the scene.
The actors and director started out by discussing the research they had done on each of their characters and the properties of oil they represented. They proceeded to do an exercise to further ground their characters by writing down the characteristics of oil connected to their own specific character.
They then played a game which helped the actors to understand the physical energy of the oil they were playing. How the oil felt and moved and how it mixed with other oils in different scenarios.
The actors were given their characters and their main inner fears, and how they relate to the outer fear of the Grease Yaka.
They were told to put together a file for their characters.
The actors also explored the physical movements related to oil/grease, personalities, physical appearance, action and behavior, words, and speed of the characters.
The actors divided into their group (beauties, fatties etc) and discussed the details of their characters.
Each character was asked to come up with 5 actions to do with their type of grease and their personalities. Then each group had to link those actions together.
They came up with the specific types of oil relate to each character.
The week was spent character building.
The director mainly worked with two actors today to devise a scene. He started by giving them each five different types of physical warm up type exercises to do, such as squats and crunches. He then got the actors to do exercises that complemented each other together, so as to create a level of sexual tension between the actors, while still maintaining the atmosphere of two guys exercising in a gym.
He then combined the sets of exercises in a sequence so that each set flowed into the next smoothly, to create a short scene. The actors tried to create an atmosphere of intense sexual tension, without changing their movements at all. They utilized eye contact and facial expression to do so.
After establishing this scene, the director introduced a new element of phones into the scene. This time, when they ran the scene, the actors were told to periodically check their phones, and seem like they were having other conversations through messaging. This immediately changed the tone of the scene. The previous dynamic of attraction and concentration between the actors was gone, replaced by a discordant, distracted, disconnected feeling instead.
The actors were put in pairs and asked to come up with three scenarios each, of slipperiness and devise short skits.
There were a variety of ideas that came up, ranging from someone running away and trying to scale walls but slipping, to being slid out from under a car as the car falls, to the slipperiness of soap in the shower, to trying to climb a tree or a pole and sliding down.
Afterwards, the actors were asked to choose their two best ideas and push them further. These scenes were used to get into the mindset of greasiness that would go hand in hand with the concept of the play. Establishing scenes like this gives the actors and the director ideas to pull from when putting together the play as a whole.
These exercises helped the actors to understand the type of things they might be doing in their roles in the play, as well as giving people ideas to build on to write the play.