second one of the year

so this week was our first "rehearsal" (we didn't rehearse because it's the first stage of the play so there's nothing TO rehearse) and i was very excited, im directing this year and so this was my first opportunity to actually get to know the children a little bit better.
i had a rather difficult time trying to control them , they are so full of energy which is a plus but it's constantly being unleashed, thus clashing with our plate tectonics concept that requires a level of restraint. im curious to see how that will happen and have to plan how to get these children to understand a kind of complicated concept. i also think we had some organization problems during the start because we had the kids playing ja jondom for like and hour while arianna took their general information. however since it was our first experience being in charge of a rehearsal i didn't think we did that bad, in fact, i think we did pretty good for people without experience at it. this leads me to think about my role as a director and how that differs from just another actor, i mean not in the sense that i direct the actor and the actor acts, but more in the sense of how do we become directors? we've all been trained in the same way, we're all good at certain aspects and have weaknesses so what is it that determines whether you become a director? what gives us the quality to be a good director? i need to think about this so that i can understand my role and therefore execute it better.

another thing about my role as director this year is the fact that i have to supervise everything, this includes the playwriting, in fact im also writing a play that carlos will direct. i find it extremely exciting to be able to direct someone else's work and have them direct mine with me present, this will be and amazing learning experience and sort of an out of body one if you think about it. you have someone else direct your work, you see it through their eyes thus giving it whole new meaning and making a whole new sense of it you did not even know existed. the other playwright however is not so thrilled not to be directing his own work and that's too bad because as students and most of all dramaturgs we must allow ourselves to let go of our egos and do what is best for the play, and if it turns out badly then we must allow ourselves to learn from that experience, after all, this is not a play in an actual kabuki stage in japan but a school play directed by students, by people who are supposed to learn. even if he's not directing his own work, he'll be there and i'll be there when he directs mine, you see, this is what makes it even better that both of us will be present thus we can input and give ideas to the other one enriching the play and our experience as a whole.

i do have a trillion questions that if i addressed them right now i would be unable to sleep the few hours i have left and be cranky in the morning. so i chose one that ponders my mind: since our play is going to go along with the kabuki tradition but will not be a strict kabuki play, how far will we be able to bend the tradition to the play's convenience? and which bends are more important than others? how do we know when it's enough?