In the beginning the actors read lines from their parts. A "part" contains the speeches and "business" of the actor for whom it is intended, with "cues", or the last few words of each speech preceding his, so that he may know when to speak. An extract from the "part" of the Queen in "Hamlet" (Act III; Scene I) would look something like this:
(You enter L.3.E.) Did he receive you well? ----free in his reply. Did you assay him to any pastime? ----he suffers for. I shall obey you. Etc.
The director shows the actor where he shall stand, and where go, at every speech, and the stage manager notes on the manuscript such "business" as is not already written in it. Also, he sets down memoranda for the raising and "dimming" of lights, the ringing of bells, and other things to be done "off stage."
After a couple of days' rehearsal the players may be told that they must have the lines of the first act committed to memory within a certain time. "Letter perfect on Thursday!" says the director. "Don't forget; I want to hear every 'if, 'and', and 'but' spoken on Thursday!"
So, act by act, the piece is learned, and, within a week, "parts" are put away, and the real work of rehearsal begins. By this time, the "roughing out" of the production has been done, positions have been taught, and the director begins devoting himself to details. Throughout the first fortnight he interrupts frequently; compels the people to go back a dozen times over this scene or that; halts, thinks out trifles, suggests and experiments. When the rehearsals are two-thirds done, however, he and the author break in less and less often. They sit, notebooks in hand, jotting down their observations, which are read aloud to the company at the end of each act.
Meanwhile, the director has attended to several important matters with which the cast has no immediate concern. He has made out a list of "properties", or small articles to be handled in the performance, and has given it to the manager. This list requires care. For example, if matches are needed in the play, it must be ascertained what kind of matches were used at that period, and sulphur, parlor, or "safety" matches must be specified. The manager must also be given lists of furniture and draperies. Later on, a table of "music cues" must be made out for the orchestra, and one of "light cues" for the electrician. The play must be timed, so that it may be known to a minute at what hour the curtain will rise and fall on every act. Generally, a page of typewritten manuscript will occupy a minute, but guess work on this point does not suffice for the director. The players begin to consult him about their costumes, too, and he must take into account the blending of colors, the fashions of the period, and the personal characteristics likely to manifest themselves in attire.