One thing I am already learning by playing this ”silent” role is how advantageous it is to run the blocking in my head, or in fact, even physically, when going over a script by myself.
This is not a totally new concept to me, as I try to visualize my blocking in my head during the early stages of a rehearsal. Yet it is usually done at an expedited pace, in order to get to the lines. (The lines being the main thing I am committing to memory when I am on my own at home when I am in a show.) Yet with this show, 85% of what I will be doing will be blocking based. Because of this, I have been reading the block directions extra carefully, and have been running through them physically in my room, when applicable. The result is that the blocking and movements are becoming more natural to me earlier in the process.
I think I shall adopt this method to a deeper degree in future productions. Instead of just visualizing what I have to do, I can see the benefits of actually moving about as I review my script in the privacy of my own room. I do not have to wait until I am on stage to do so. While there is a limit to doing this depending on how sweeping the blocking of any given show is, practicing the crosses and sit-downs and such while committing lines to memory in future shows just may help me commit both to memory sooner.
I realize that block often changes, even when dialogue doesn’t. Nevertheless, a development of muscle memory that is tied in intimately with the delivery of my non-lines in this play is giving providing me with obvious benefits. I therefore conclude that adapting the method for use in plays where I have to know lines would behoove me.
And so the learning and evolving in the craft continues. One reason I love the theatre. You never perfect the art. You just continually evolve. Particularly when something that should have been obvious all along suddenly strikes you as being useful. (Such as the case with me and this concept.