日期：二零一二年七月五日
地點：排練室四零四
一般排練
演員們先讀第二十五景，讀畢後開始活動。Tilmann提醒彥斌要小心，不可先預想他所扮演的老人是個好人。
在劇中許多敘事的段落，導演希望演員們能藉此和觀眾建立更直接和緊密的關係，而不是將沉溺在自己腦海中的想像。比方說，當彥斌以女服務生的姿態在丟台詞時，他應該要把焦點往觀眾投射，並且試圖勾引他們。導演同時也認為，一段敘事台詞應該要分成好幾個段落。首先，在丟台詞之前，演員應該要在腦袋裡先把故事想像過一番，讓畫面從隻字片語中慢慢浮現。接著，在丟台詞時，演員的態度應該是要像跟觀眾說個很瘋狂的故事一樣，避免不必要的碎動。此外，一段敘事台詞應該包含許多段落、轉折及不同層次的情緒。例如，行動要能適時地「變溫」。「冷拍」和「熱拍」的行動應該交互穿插，情緒不應時時高漲，偶爾要伴隨著冷靜。
第三十一景，Tilmann運用了演員們先前所發展「頭顱漂浮在水面」的概念。另外，由於角色關係，為了使彥斌爬上平台的動作看起來「吃力」，Tilmann要彥斌在爬上來時，只能用手的力氣，膝蓋不能彎曲。導演也告訴彥斌，這段台詞可以分成五個段落，並要他找出話語間的轉折之處。最後，他提醒彥斌，台詞應該要投射給觀眾，尤其是最後一句：也許外頭早就是夏天了。
當在排第二十八景時，Tilmann說道：「就像男人總會納悶，女人總是提著一個包包，包包裡面到底裝些什麼東西？」導演要求子恆多以演員的身分來說這段台詞，而不是空姐。子恆把包包放在舞台上，和其保持一段距離。他先對包包感到好奇，接著為這個包包的主人編故事，也許說到某些段落，才漸漸轉變成空姐。Tilmann 強調，「在這段台詞中，你是被這個牙齒拎著回家的，一路上都是被牙齒拎著走，而不是你把牙齒帶回家。」導演又突發奇想，覺得包包應該放在觀眾席，於是導演要求助理拿著包包，演員必須走入觀眾席，從觀眾手中拿走包包。一開始，子恆要拿走包包的態度很有禮貌，但導演要求不用禮貌，直接將包包拿走。
Date: 07/05/12
Place: Rehearsal Studio 404
Rehearsal
After reading through Scene 25, the actors get on their feet. Tilmann reminds Yenpin not to predetermine that the old man he plays is a good person.
In narrative sections, the director wants the actors to establish stronger connections with audience instead of indulging themselves in their own imaginations. For instance, while delivering his lines as a waitress, Yenpin should focus his projected target on audience members and attempt to seduce them. Tilmann also thinks that a narrative speech should be divided into several phases. First, before giving their lines, actors should envision the story in their minds and make the pictures emerge from words moment by moment. Then, while giving their lines, they should think that they are telling crazy stories to audience and avoid unnecessary movements. Besides, a narrative speech should encompass beats, transitions, and different levels of emotion. For instance, the “temperature” of actions should vary from moment to moment. “Hot” and “cold” actions should be intermixed, emotional moments followed by unemotional ones.
In Scene 31, Tilmann employs the idea of “heads floating on the surface” that the actors have developed earlier. Besides, in order to make it look like a cumbersome job for his character to climb up the platform, Tilmann asks Yenpin to do the action only by the strength of hands, knees unbent. He also says that this speech can be divided into five parts and asks Yenpin to find the beats in between. Finally, Tilmann reminds Yenpin that his lines should be projected to the audience, especially the last one: Perhaps, it’s already summer outside.
When rehearsing Scene 28, Tilmann says, “It’s like men are always wondering why women always carry bags and what things women have in their bags?” He wants Ziheng to deliver most of the lines as an actor rather than the stewardess described in the speech. Ziheng places the bag onstage first and keeps a distance from it. He starts with being curious about the bag and then makes up stories for its owner, gradually turning into the stewardess. Tilmann emphasizes, “During this speech, it’s as if the tooth in your bag guides you home, as opposed to you bringing it home.” Tilmann comes up with an idea that the bag comes from an audience member. He then places the assistant director, Zou-Han, in the house, holding a bag with those specific items mentioned in the play. At first, as Ziheng approaches Zou-Han to take the bag, his attitude is very polite, gesturing her to give him the bag. Tilmann doesn’t want him to be polite at all. Instead, he wants Ziheng to snatch the bag without the owner’s permission.
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