Творчество, конечноBen Whishaw is competing to be heard over the hammering coming from the Walter Kerr Theatre’s orchestra level. Sitting in the mezzanine, he has to raise his typically subdued voice over the incessant banging as the tech crew finishes construction on the set for Arthur Miller’s “The Crucible.” The stage decor, which director Ivo van Hove has very consciously had installed piecemeal alongside the play’s performances, is mirroring the cast’s progress; previews are eight days away and they’re five pages shy of the Tony-winning play’s grim culmination. It’ll be the first full run of Whishaw’s Broadway debut.Playing protagonist John Proctor, the deeply religious but fallible outsider in a Puritanical community splintered by the Salem witch trials, Whishaw, under van Hove’s guidance, is approaching the production’s cornerstone role with an intuitive looseness. There are no heady discussions about the material and no table reads, just a strict five-hour-a-day rehearsal from 11 a.m. to 4 p.m. alongside Oscar nominee Saoirse Ronan, Tony winner Sophie Okonedo, “Game of Thrones” alum Ciarán Hinds, and the rest of the 15-actor ensemble.For Whishaw, the rehearsal process has been an exercise in making discoveries in the moment and uncovering what the play “ought to be” in his respective space.“Ivo encourages you to not be logical; he’ll say, ‘OK, so this moment you let rip. You push her up against the door and you scream at her, but in the next second you drop that and you’re calm and you’re rational,’ ” Whishaw explains with kinetic hand movements. “So he sort of gives you something, a sphere to play in, but it’s not psychological…. Because if you come at this play like, ‘I’m going to make this a coherent interpretation,’ you smooth it out, you iron out the weird contradictions and jumps.”John’s termination of his illicit affair with young Abigail (Ronan) sets “The Crucible” in motion and triggers a vengeance plot with accusations of witchcraft flying at dozens of townspeople, including John’s wife, Elizabeth (Okonedo).For Whishaw, who adamantly does not subscribe to a specific acting method (“No, I really, really don’t. No.”), the contradictions of Salem’s residents were his jumping-off point for the play, which is loosely based on the notorious 17th-century trials. Examining people who so deeply rely on each other for survival yet are killing each other over little more than needles and poppets—plus John’s belief that he’s a good Christian despite his sins—took precedence.Пс: что то меня блокирует на сайте, не пойму((