now suddenly became "cast members" and "characters" with new names.
We reached for ways to understand, and then project, the most important
essence of the words in the script. This "reach" drew us again and
again back to the Bard, to his words in the text, to the stage directions.
But it also drew us to each other. Together we would discuss what
seemed to work or not work in scenes, what seemed to make sense
according to our research. Sometimes the acting-out of a scene brought
an "ah-ha" feeling of Shakespeare's meaning for the first time.
on Three-Dimensional Shakespeare