Friday. October I5. 1965

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Page PM

J/uzat/m,
mad/UL

by harlequin

The theatre doors open and pe0<
ple pour out. There is a babble
or voices discussing the play they
have just seen. There are com-
ments on the beauty at the set.
The actors’ pertorrnances are torn
to shreds, and the impact and
meaning of the play are hashed
over. But beiore the opening our-
talnv helore the costumes, before
the set was built, helore anything
could happen, there was a play
and a director. And the director
called try-outs,

What are tryouts? Basically,
they are the choosing of the ac-
tors and actresses who will make
the play come to life. The evening
or the try-outs there is nothing but
a bare, dimly lit stage and the
director sitting on the stage facing
those hopeiul or getting a part. He
has in mind the kind of people
that he wants for the parts. He
must now listen to these people
to find the ones who will best Iulr
till his conceptions.

He gets their names. He stands
before the expectant laces and
tells them what the play is about.
and who the characters are, Then
he calls them to the stage in
groups of two or three and given
them a page and a character. The
reading begins, The director lie.
tens, juts down notes on each,
calls others. The groups change
and they reread the same pas-
sages Hopefuls read one part,
then another, They read against
one combination and then another.
some are dismissed immediately
and others are held For the whole
eventing. Finally, all have read.
All have been Classified. The di.
rector sends the aspirants away
and stays to go over and over his
notes trying to decide the tinal
cast.

But what about the try-outs from
the actors’ point of view? How do
they reel to walk into a barren
theatre, to sit in the seats they
usually face? How does it feel the
first time to enter a place that
usually the person enters only on
a performance night to see the
magic happen, with hopes or be«
ing part or that magic? “my
don't you Gl'innell students ﬁnd
out. Indulge a long hidden desire
to have others notice you, to be
someone else. Then you can tlnd
out about the nerves that try—outs
bring. it is a feeling that nothing,

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not even taking an hourly without
preparation, can duplicate. You
sit there hﬂping to be called to
read, and dreading your name be-
ing called. Then you are up there
with a few others, some you know
and some you don't. But they are
strange quantities. You read I
part that you really don't undett
stand and you are sent back to
sweat out the wait till you are
called to read again After yo
and the others are dismisse
comes the great debate whether
or not to haunt the posting board
or to postpone the agony. When
you find out the reaction is alwayx
the some. Relief.

 

 

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