The Encyclopedia of Interactive Performance

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In traditional theater, it’s bad form for an actor to miss a rehearsal. yet this is exactly what happens in every rehearsal of an interactive show. The most important player—the spect-actor—is never present at rehearsals. That’s where rehearsal spects come in. During rehearsals, you need people to fill the roles that will eventually be played by unrehearsed participants in the performance.

There are two types of rehearsal spects. Inside rehearsal spects are members of the cast and crew, while outside rehearsal spects are people outside the production.

Playing with inside rehearsal spects

During preliminary rehearsals, it's best to have people who are a part of the production fill in as rehearsal spects. Typically, these are other members of the cast and production team. There’s no need for outside participants because the rehearsal spect is a functional role, completing the stage picture and giving inter-actors someone to engage with.

During the exploratory work of softball and hardball rehearsals, inter-actors make excellent rehearsal spects. Their practical experience with real spects equips inter-actors to play convincingly as spects. However, there’s one risk to stay aware of—Inter-actors love to play. They must stay vigilant to keep their creative impulses in check because that’s the way most spects play.

After the first play-through of a scenario, the director may have them play as easy, medium, or difficult spects, as the situation requires. An easy spect is fully invested and readily plays from the very beginning. A medium spect is willing, but hesitant and uncertain until good interactive technique is employed. A difficult spect actively creates challenges through choices and behaviors.

When the director gives adjustments, instructions are privately delivered to the rehearsal spect. This can be accomplished by pulling the rehearsal spect aside or having the inter-actors plug their ears while instructions are given. In this way, when play resumes, inter-actors have no idea what kind of spect they're about to encounter. This is an excellent way to introduce unexpected twists or challenges to refine specific skills.

A side benefit of having inter-actors play as rehearsal spects is that it gives them first-hand experience of walking in spects’ shoes. It provides them a perspective on what makes it easier and more difficult for spects to play by literally assuming their role.

Playing with outside rehearsal spects

After the performance foundations have been established, it’s time to bring in outside rehearsal spects. Ideally, these people don’t know the inter-actors with whom they’re playing. It’s also best when they come from many walks of life. Rehearsing with a wide variety of unfamiliar spects is robust preparation for performance.

As spects arrive, make them comfortable. No matter how they appear on the outside, they’re often nervous on the inside. Welcome them as soon as they arrive. Engage in a little small talk to set them at ease. Simple courtesies such as offering them water and pointing out the bathrooms make them feel taken care of.

When it’s time to play, deliver a portal. The portal clarifies how they’re invited to play, sets expectations, and answers their questions. The one thing not to talk about is the premise. It’s best when rehearsal spects play from a “fresh” perspective. If they know what’s in store, it alters how they play. Treat the first play-through as a precious commodity, because it is.

For the first play-through, go through the scenario from beginning to end. Don’t stop if things go awry. Play it out as best you can. More useful discoveries are made by seeing the scene through than by fixing “mistakes.”

After the first play-through, adjustments can be given. Inter-actors may be directed to try a specific technique or make a different choice. It’s also appropriate to ask the rehearsal spect to make adjustments, based on the practice needs of the inter-actors. Whether giving adjustments to inter-actors or spects, do so privately to avoid influencing how the others play.

When outside rehearsal spects are done playing, you can gain valuable perspectives by having a debrief. Find out what they were thinking and feeling while playing. Their feedback gives a better understanding of how specific choices affected the way they played. If the story took unexpected turns, don’t discuss how it was “supposed” to go. What happened is what happened; leave it at that. Also avoid discussing interactive technique because it makes them feel manipulated. Keep the focus on the spect’s perspective of what worked and what didn’t. For more details about this process, see How to debrief spects.

When it’s time for outside spects to leave, make sure they are fully taken care of. Walk them out and thank them again for playing. They’ve just had a very connected experience of play and it feels like being abandoned to walk out of the building alone.

Rehearsal spects are an essential part of the rehearsal process. They help develop the inter-actor’s ability to play with many different kinds of people. The point isn’t to prepare for every possible contingency. It’s to remain open and responsive to whatever happens, no matter who the spect may be.