ABSTRACT
Since I knew full well, as a theatre, film, and television director, that how you work on a drama varies according to the preparation time available, I have always felt this way of working should be the prime consideration for what has become known as Original Practices. Certainly after I had done my productions at Shakespeare’s Globe, when their regular company later on did ‘Original Practices’, they meant that they were using original costume designs and dressmaking techniques, original music and musical instruments, and sometimes even original pronunciation – but never original rehearsal time (or lack of it) or the original text.
