日期：二零一二年七月九日
地點：排練室四零四
一般排練
Tilmann 與演員們排練第十五至二十景。他解釋，在第十五景，螞蟻們認為蟋蟀很掃興，把原本歡樂的氣氛都搞砸了。當螞蟻們之間的玩興升高到了極點，蟋蟀仍然是面帶肅穆，對一切冷感。Tilmann認為，這對比越強烈，其中的遊戲也越有趣。演員們做的所有事情都只是好玩而已，或者我應該說，他們是很「認真地」在玩這些遊戲。當一個遊戲世界瓦解時，他們仍會延續遊戲精神，重新建造另一個遊戲世界。如果他們之中有人在某一景被欺負，受害者會在下一景報仇。這樣的遊戲精神，甚至在第十五至二十景更為明顯，在這幾景間，受害者這個角色在年輕亞洲男子和蟋蟀間擺盪著。就結構來說，這每一景的歡樂氣氛相互堆疊，最後達到高潮。因此，即使這些場景破碎，彼此看似不相連，演員們之間的戲局卻自始至終從未改變，這也是此劇本主要的戲劇行動，而不是由這劇本諸多角色所建構出來錯綜複雜的故事線。Tilmann鼓勵扮演螞蟻和其嘍儸的演員們，發展更多不同的肢體動作來嘲笑蟋蟀。
第三十二景，扮演亞洲男子家人的演員們採用了濃重的鄉音，使得這一景變得有點搞笑。Tilmann 認為，男子家人應該是住在偏遠的鄉下，他們用SKYPE和男子聊天，而這很可能是他們生平第一次使用這玩意兒。Tilmann 在這景想呈現一個畫面：男子的家人你推我擠，為的就是要把失聯已久的男子看得更清楚。導演於是把一個小小的鏡子高掛在天花板上，叫演員找到一個他們可以在鏡子裡面看到每個人鏡像的最佳位置。他察覺到，當演員們試圖從人群中鑽出，他們的身體變得很不一樣，這畫面所呈現出來的身體性也變得十分有趣。一開始，Tilmann 允許演員在表演中盡可能地加他們想要的道具和台詞，在景發展了一會兒之後，導演要演員去思考在剛才所用的東西中，什麼是他們覺得真的對這一景是有幫助且必需的，而什麼又是可以拿掉的。整個排練實質上是個簡（減）化的過程，在舞台上沒有一樣東西純粹是來裝飾用的。
Date: 07/09/12
Place: Rehearsal Studio 404
Rehearsal
Tilmann rehearses Scene 15-20 with the actors. In Scene 15, he explains that the Cricket is regarded by the Ants as a “party pooper,” dampening the festive mood of the scene. While the Ants’ joy escalates into ecstasy, the Cricket remains solemn and lukewarm. Tilmann thinks the more intense the contrast is, the more interesting the game is going to be. Everything the actors do is just for fun, or perhaps I should say that they take these games seriously. When one game world crumbles, they still continue to carry on the game spirit and rebuild another game world. If any of them is bullied in this scene, s/he may take revenge in the next. Such a spirit is even more conspicuous from Scene 15 to 20, in which the victim shifts between the young Asian man and the Cricket. Structurally speaking, the festive mood of each of these scenes piles upon one another and ultimately grows into a climax. Thus, even though the scenes are fragmented and seemingly disconnected to each other, the game among actors persists throughout, which is also the main action of the play, as opposed to the multiple, complex storylines constructed by the characters. Tilmann encourages the actors playing the Ant and his sidekicks to develop more different movements to jeer at the Cricket.
In Scene 32, the actors playing the young Asian man’s family adopt dialectical accents, which makes the scene slightly comic.Tilmann thinks his family members should be like people living in a remote rural village. They talk to the Man via skype, a little thing that they’ve never used before. In the scene, Tilmann wants to present the image in which the family members cluster and shove each other in order to see the Man more clearly. He then hangs a tiny mirror in the ceiling and asks the actors to find the best position in which they can see everyone’s reflection in the mirror. He explains that when the actors squeeze themselves through the crowd, their bodies become different, and the physicality gets visually interesting. At first, Tilmann let the actors add as many props and lines as they want. After they develop the scene for a while, Tilmann asks them to consider what things they just used are really helpful and necessary for the scene and what can be removed. The rehearsal appears to be a reductive process. Nothing on the stage is unusable and merely decorative.
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