Diversity, Inclusion, Equity in Rehearsal Rooms
As a stage director, I am trained to watch how others move in space and interpret meaning. As an American I am also trained to read bodies and see race, gender, disabilities, and other social indicators that determine meaning.
As an artist that tells stories through sequence of actions, I am responsible to take into account what it means for each of those bodies to perform a series of those scripted scripted actions.
Theatre itself is a deeply political artform. Theatre artists hold a mirror up to society. We allow people to identify with a representation of themselves and the world they live in. And thus the theatre and artists involved have a vast social responsibility.
As artistic leaders and decision makers, we must cultivate environments with fertile ground for people to thrive. Vulnerable, provoking art that allows for social change emerges from safe creative spaces where everyone feels encouraged to explore their authentic selves.
As leaders, it is not enough to say we want our collaborators to feel safe. As leaders, we must model it with actions.
People will not initially trust talks of inclusive rooms. It is not something that is in common practice. We have to build trust with everyone in the room and be willing to make mistakes and show up imperfect as we do it.
We talk about the importance of creating diverse, inclusive, and equitable rehearsal rooms, but what are the practical steps we take to build trust?
Diversity.
Diversity in the rehearsal room describes the variation in personal, physical, and social characteristics, such as gender, ethnicity, age, and education.
It refers to what the room looks like and who is invited to the room.
Creating a diverse room admits that all bodies moving through time and space hold meaning. And how an artform told through a series of actions is strengthened by the unique body performing the action.
A character standing at the foot of a staircase has a very different social meaning for an able-bodied person than a person with a physical disability.
As artists working with a clock and budget, we can get caught up needing to cast quickly or needing to keep the engine moving forward. These real reasons can yield excuses for why rooms look less diverse such as “Let’s go with this person. We know they can nail it and we need to start rehearsing soon” or “We would have loved to cast a person of color and none showed up to the audition.” We have to do the work to ensure a diverse group of actors can access the audition room, are seen, and given the same time for the role.
Go to the work of people of color in our community. Go to the work of transgender artists in our community. Find where it is. Pay our money to see their work. Subscribe to their social platforms. Share and promote their content. Meet the artists involved to broaden our scope who is possible for any role at hand.
When auditioning a person with a disability, communicate with them ahead of time and find out what they need to be prepared then work with the staff to accommodate those needs. Start the conversation and be proactively welcoming to alleviate the power dynamic in casting process.
Inclusion.
Diversity is the work we do to get the people in the room. Inclusion is the tools we put in place every moment to create a sense of belonging.
Inclusive rehearsal room cultures make people feel respected and valued for who they are as an individual or group. As leaders, we have a responsibility to craft a level of supportive energy and commitment from others so that they feel safe and encouraged to make discoveries in the text.
The process of inclusion engages each individual and makes the individual feel valued as being essential to the success of the production. It means understanding one another by surpassing simple tolerance to ensure all artists involved truly value their unique characteristics.
As leaders, we must treat everyone with respect and highlight them for their strengths.
When actors understand their strengths, they can tap into what motivates them and what they naturally do best. They feel safe to play, to experiment, and have the support to be caught if they fall.
Let the actors express concerns with transparency and confidence.
When determining the rehearsal schedule, pay attention to the cost of traveling for others, how many days we expect our artists to take off from time that generates income, artists with families, etc.
Make sure people understand how to report challenges to hold yourself and other artists accountable, define what constitutes as crossing the line, practice difficult conversations before the rehearsal process, etc.
We will not all enter the room at the same level of safety and trust. We as leaders must model, adapt, and continuously build it over time. And trust is what allows actors to dig deeper and find those vulnerable, engaging moments and succeed in creative problem solving.
Equity.
We use our power to make decisions to fill the room with diverse people and perspectives, we then promote an inclusive environment where those unique differences can influence the creative process. We must then make the time spent on work equally equitable for all artists involved.
Equity is based on what is fair and just. It is a matter of perception. It will not be one size fits all.
Thus we must offer a variety of ways to provide equity for each individual and understand the multiple currencies an artist can receive.
Monetary value or a paycheck or stipend is the most universal understanding of value. Landlords understand it. Friends understand it. Children understand it.
Some theatrical processes are not able to offer monetary value for its artists. And artists audition, choose to design, and commit time to the process. It becomes our responsibility to understand why everyone involved then wants to show up to every rehearsal and what currency we can provide to make them valued.
For some it’s a personal desire to perform this role.
For some it’s to work with a particular actor, director, writer.
For some it’s to escape from a challenging home life.
For some it’s something to do between gigs.
For some it’s to practice the skills learned in an acting class.
For some it’s to prove to their family they are following their dreams.
Our collaborators may not share their true currency(ies) for this project until a certain level of trust has been built. As a leader, once you know it, we must figure out a fair way to pay for their time, work, and talent.
If they want to work with a particular actor in the cast, structure in time for them to work those shared scenes in depth. If it’s to escape a challenging home life, be welcoming and validating to make this a joyful time to look forward to.
Artists who feel they are being paid for their time will feel valued and will put in the work necessary to treat the production with respect.
This work is not in the job description of a stage director. It is not in description of a producer, playwright, designer or any other title. And if our goal is to make a piece of theatre that will evoke change and that allows a person to see themselves, then this work of diversity, inclusion, and equity is imperative to getting there.
Open rooms make artists able to be themsles and create authentic connections unique between them and the storytelling. The authenticity generates the true reflection of the world for the audience to see.
As an artistic leader, I want to diversify my techniques in my directing craft and also in practicing making environments where people feel heard and encouraged to bring their authentic selves to the room.
