Taking and Giving Observation Notes

The task of taking observation notes is essentially the same as leading rehearsals, the difference is that observation notes come after the actors' work not during it. The taking and giving of observation notes (or notes as they are called in the theatre) should be a welcomed addition to the rehearsal process. Notes help the actors and the director stay on task and maintain the clarity and simplicity necessary to help the audience understand the play.

Because notes are usually taken while the director is sitting in the audience, actors are able to receive feedback about the effectiveness of their work from the point of view of the audience. Directors can use this time to make sure all of the action and characters on stage can be seen and heard, making adjustments as necessary. Here are some guidelines on notes:

Break into notes. Notes should never be a burden or "one more thing" to do. Notes are a form of communication and directors should be sensitive and allow everyone to have time to make ready and be open to that communication. After the actors finish their work give them time to relax, gather their things, and prepare for the note session.

Keep notes positive. Actors may tend to think notes are only for scolding them. Notes should be prefaced as an important, vital, and positive final step in assuring a quality final performance. If you are only taking notes to fix or change things be sure and offer the actors positive feedback prior to sharing the fix-it list.

Take note of "You." Directors should use the word "you" carefully. Notes should never be personal. When posing questions, directors need to be clear about who they want an answer from, the actor or the character. Explain to the actors that "you" usually means the character not the actor.

Keep notes open to ideas. Just as the actors listen to the director's notes, a director should be open to listening and trying notes given by the actors. Actors know the inner feelings and workings of the play in ways different than the director. Actors' perceptions and insights should be welcomed additions to the notes session.

Keep notes experiential. Although it is tempting for a director to tell an actor how to say his/her words, directors should be careful not to do it. Line readings, as they are called in the theatre, are one of the worst mistakes a director can make when working with actors. Directors can ask actors to review their lines, inviting them to share any questions about sense or meaning. Directors should be careful not to judge ("You 're doing it . . . and it should be done . . ."). Notes are best if concerns are posed as inquiry: "How would you say the line if you were upset?" "What do you think the line means?" are effective ways to lead an actor toward stronger choices.

Keep notes short and to the point. Actors need to be able to write the notes down so that they can review them and apply them the next time they rehearse. When taking notes make a side note as to where in the play the note takes place (page number, scene, key sentence, etc.). Directors should not use the note session as a lecture or history lesson.

Work and fix after notes. The actors need as many opportunities to run their work from beginning to end without interruptions. If you note that staging needs to be fixed or changed. Write the note and then fix or change the work after all of the notes are given. Be sure to allow time for actors to run the changes before excusing them from rehearsal.

Giving your actors a list of expectations for notes will help them to understand the note process:

Notes come from the audience's perception of the play - everyone in the production needs to remember that their jobs are based on making clear and succinct choices and decisions. Notes are a way for the director to share with actors what the audience sees and hears.

Notes are helpful compliments - if actors did not "give" something they would not be able to "receive" notes. Actors should hear a "thank you for your work and . . ." before each note whether a director says it or not. Notes, even if they seem to be negative, are really invitations to make good work even better.

Notes should be written down - actors need to review and apply any notes during the next rehearsal. The same note should never be given twice.

Notes only come from the director - actors should never give another actor a note.

"You" usually means the character not you the actor - it is hard, but necessary, to receive constructive criticism. Actors should take notes as they are intended, to help create clear and effective characters behaving truthfully to the circumstances of the play's plot. Notes should never be taken (or given) personally.

Actors should not feel the need to explain -more often than not actors should take their notes without apology or explanation.

Questions are always welcome - but actors should be sensitive in how questions are asked. Keep questions free of judgment ("I think") and blame ("S/he did . . ."). If an actor has specific concerns about another actor or the work, the actor should ask the director to meet one-on-one after the note session or before the next rehearsal.

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