Heuristics, Rules of Thumb, are combinations or programs which we can develop and employ to help us make decisions and solve problems.

Part 1, Improving Systems Simulation through Rules of Thumb, discussed how the rules of thumb from chess can be used to benefit systems engineers. I argued that learning the basic facets that lie behind a particular system aids in the simulation of that system. Putting on a theater production is about as far as one can get from the computer simulations of systems engineering. Despite this fact, I believe that many of the concepts of rules thumb can be applied to that process as well.

To put on a theater production takes a large amount of work from a large number of people coordinated together to provide focused entertainment for the audience. The process that exists behind the actual production is quite extensive, and is often quite invisible to the actual audience. Many theater aficionados do not even realize how many people are involved in a performance besides the actors that appear before them. In fact, one of the signs of a really well put together performance is that the process behind it is transparent.

One of the extra challenges about doing theater in a university theater troupe, like Stimulus Children’s Theater at Penn, is that the cast and crew of the productions change dramatically from one season to the next. It is often the case that people performing in one show will be doing production work on the next, and directing work on the third. Furthermore, there is a yearly influx and out-flow of members of the theater group. These two factors make the experience levels quite variable between members of the same performing staff.

This facet of Stimulus’ performance organization is both one of its greatest strengths and largest challenges. On one hand, it allows much more room for the implementation of new ideas, and freedom to experiment and try new things. Furthermore, it allows the staff to do their respective positions in whichever manner they see best. On the other hand, however, it makes it difficult to maintain continuity between performances and may leave members of the group confused about what is going to happen next.

The overall production of a show is a coordination of a variety of theater processes. The two main processes are the production process and the rehearsal process. The production process consists of all of the things that happen outside of rehearsal. The set must be built; costumes found; props made, found, or bought; publicity must be secured; and stage lighting must be designed. All of these separate functions are coordinated by the show’s producer. It is his or her job to ensure that every person in the production staff is doing their job on time and within budget.

The rehearsal process consists of everything that happens inside of rehearsals. The members who participate in the rehearsal process are the director, stage manager, musical director, choreographer, their assistants, and the cast. The purpose of this process is to learn and practice all of the movements, speaking, dancing, and singing that occurs on stage. In addition, a good rehearsal process will allow the cast to bond into a cohesive group, learn about themselves, and discover aspects of their characters that do not exist in the script. Finally, a good rehearsal process will be fun for all those involved.

Both processes, are large and involve many people working together to produce something that is greater than the sum of the parts involved. Because of this, it can be a daunting challenge for someone new to be in a position where they must be very involved in either of these processes. Rules of thumb are an excellent means to allow that transition to be smoother and simpler.

As an example, lets focus on the role of director in a show’s production. The director is the person in charge of the rehearsal process. He or she makes sure that rehearsals are productive and also enjoyable. Often, the director must take a positional approach to rehearsals because it is not easy to form a narrow, clear, well defined goal out of the final production. In other words, the director wants a ‘good show’ to be the result of the rehearsal process, but that is usually just a direction, not an actual defined state.

Because the director must approach his or her work from a positional standpoint, it is even more difficult for novices. One of the ways to make it easier for both the director and future directors is to employ an assistant director. Working under a more experienced mentor helps one learn the ropes of directing for the future. In addition, it is useful for a director to have an assistant to help give feedback about where the rehearsal process is heading.

One of the implications of the positionality of the director’s approach is that since it is the director’s goal to work on the ‘direction’ of the rehearsal process (hence the name, director) and the artistic focus of the project, they often do not have time to concern themselves with the logistics of rehearsals. In this case, rules of thumb will play their greatest role in aiding the director.

The rules of thumb for a director will tell him or her how to handle certain situation that will invariably occur during the rehearsal process. In addition, the rules of thumb will help the director set up recurring programs within the rehearsal process to help him or her maintain a level of continuity throughout. The following rules of thumb have been compiled through spending time as an assistant director this past semester:

1. Start of each rehearsal with a circle of everyone, to give everyone a chance to throw their two cents in about how they are feeling and what’s up.
2. End each rehearsal with a similar circle to once again provide a forum for hearing what’s on people’s minds.
3. Always do a focus exercise, even if it’s just counting numbers, before you do a run-through.
4. If you have to tell the cast something serious, give them a ten-minute break, sit them down in a circle and talk.
5. Give the actors a full calendar of dates the first week of rehearsal.
6. Give the actors a four week warning – make them feel like they’re a little behind. (Dropping the hammer.)
7. Don’t always do a run through of scenes 1-4. Instead, focus on a particular scene. Do it as a game, turn it into an improvisation, add some craziness.
8. Let the actors experiment with a scene by forcing them to move when not speaking or to do it backwards or different or high energy etc.

These rules of thumb can be sorted by type. The first three are procedural and quite frequently used. Number four is procedural, but infrequent. Rules five and six are singular, time-based events, and the last two are theatrical.

These rules of thumb will be incorporated by the director into Stimulus’ spring musical. In addition, Stimulus alumni who have directed are being contacted to provide their suggestions as well. These people operate as our own version of chessmasters because of their skill and expertise. We are also in the process of creating similar compilations for various other positions in the rehearsal and production process. As one can see, even though systems engineering and children’s theater are two opposites on a spectrum, they both benefit from different forms of rules of thumb.

Heuristics 1

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