日期：二零一二年七月十三日
地點：排練教室四零四
一般排練
在劇本的後半部，Tilmann 以更複雜的方式來實驗「雙重」這個概念。由於第三十七和三十八景是由同一組演員所扮演，裡面彥斌扮演爺爺和蟋蟀，怡琳扮演孫女和螞蟻，因此 Tilmann 打算將這兩條故事線串連在一起。當故事從第三十七景走到第三十八景，導演試圖想把前景延續到後景，將這兩條完全不同的故事線在台上同步發生，就好像這兩組角色存在於平行時空中。第三十七景，怡琳所扮演的懷孕孫女向彥斌所扮演的爺爺，表達她其實不想要生這個孩子。當三十七景轉到三十八景時，Tilmann讓怡琳站在原處。爺爺將耳朵靠在孫女的肚子上，好像在感受這即將出生孩子的小生命，彥斌在這個時候嘴裡講的，卻是關於蟋蟀待在螞蟻房間的台詞。於此，這兩條連續且看似不相干的故事線重疊在一起。在 Tilmann 的詮釋下，房間裡的椅子、桌子和床好似被轉化成嬰兒身體的各個部位。
Tilmann 排練第三十九景，細修昨天演員們所發展的「合唱」橋段，調整他們合唱部分的音量，並幫他們的音樂性推展到高潮。Tilmann 說明，這段應該要給人有「死亡之舞」的感覺，因為這是年輕亞洲男子死前的最後一刻，他在這景的結尾處，昏厥倒地。導演告訴演員臉看起來要面無表情。然而，在中華文化裡，我們並沒有像西方「死亡之舞」這樣的傳統或典故，對這些演員們來說，的確有點難以想像他們應該怎麼舞動。Tilmann 於是想到了其他方法來敘述他的指令，以達到類似的效果。他把這景所預期的氛圍比擬成血液。他解釋，這裡的氛圍應該要像血液一樣，其流速呈現完整又清楚的曲線：緩流，悸動，加速顫動，高漲，流瀉，最後停滯。Tilmann 「指揮」演員說出台詞，同步同調，卻以不同的節奏進行，幫助他們找到他所謂的曲線。
在第三十九和四十景間的轉場時，孫女把小孩生了出來，宏章建議導演在這時候讓他玩音樂盒，作出對比並加強該景的張力。Tilmann 覺得這個主意不錯，但音樂盒可能不會真的在場上使用，而是由樂手承宗演奏從音樂盒裡散發出來的音樂。但是承宗到時候會在演奏一些背景音樂，所以 Tilmann 認為，他可能得暫時放棄宏章的提議。
Date: 07/13/12
Place: Rehearsal Studio 404
Rehearsal
In the later part of the play, Tilmann experiments with the idea of doubling in a more complex way. Because the same set of actors enacts Scene 37 & 38, in which Yenpin plays the Grandfather and the Cricket, and Yilin plays the Granddaughter and the Ant, Tilmann intends to interweave these two storylines. As the story moves from Scene 37 to Scene 38, the director attempts to extend the former scene to the latter, synchronizing these two different storylines on the stage, as though these two sets of characters exist in a parallel universe. In Scene 37, the pregnant Granddaughter (played by Yilin) expresses to the Grandfather (played by Yenpin) her reluctance to give birth to the baby; as Scene 37 shifts to Scene 38, Tilmann has her stand on the same spot. While the Grandfather places his ears against the Granddaughter’s stomach, as if feeling the newborn’s forthcoming life, Yenpin, at the moment, delivers the lines about the Cricket staying in the Ant’s chamber. Here, these two consecutive and seemingly unrelated storylines overlap. In Tilmann’s interpretation, the chair, the table, and the bed in the chamber appear to transform into the baby’s body parts.
Tilmann also rehearses Scene 39. He finesses the choral exercise the ensemble developed yesterday, adjusting the volume of their choral speech and helping them build up a climax. Tilmann explains that this part should feel like the Dance of Death, because this is the last moment before the Young Asian Man’s death, and he passes out in the end of the scene. He tells the actors to look deadpan. However, because we don’t have such a tradition or reference as the Dance of Death in Chinese culture, it’s a bit hard for the actors to imagine how they should dance or move. Tilmann then comes up with an idea to describe his instructions in another way that may reach similar effects. He likens the expected mood of the scene to blood. As he explains, the mood here should be like blood that has a salient arc of varying speed: It streams, pulsates, throbs, surges, spurts, and finally stagnates. Tilmann “conducts” the actors to deliver their lines in unison with different rhythms, helping them find such an arc.
In the transition between Scene 39 & 40, in which the Granddaughter delivers a baby, Hongzhang suggests the director to let him play the music box at the time, so as to create a contrast and strengthen the tension of the scene. Tilmann thinks it’s a good idea, but the music box may not really be used on stage. Instead, the musician, Chen-Chung, will play the music emanating from the music box. Yet Chen-Chung will be playing some background music at the time, so Tilmann thinks that he may have to forgo Hongzhang’s idea.
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