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    Elliot Northcote Daft
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    The first chapter from the textbook by Jim Paterson

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    The first chapter from the textbook by Jim Paterson

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    342 views28 pages

    Stage Directing: The First Experiences Chapter 1

    Uploaded by

    Elliot Northcote Daft
    The first chapter from the textbook by Jim Paterson

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    of 28
    Overview The Directing Process Directors ae both artist and managers. Acar, directors must select (or approve) the script for production, analyze i, conceive the production approach, cast che play, cllaborate with design ers, and guide the actows. As managers, they must coordinate all faces ofthe production, schedule meetings and rears com rmunicate the production’ appeoach, plan, and sometimes make contributions to marketing strategies. Both jobs re important The extent to which directors uccesily execute each of these funcsions wil evenualy influence che succes ofa production, ‘The majovty of this handbook is devoted to the are of dec Jing o1ganiaed as seven steps fom sclecting the playscris to ‘opening night. There is lio significant attention given to man- agement. While his organization a series of epe—suggents & linear approach ro he dizeting proces, there ie much overlap. Asthisbook describes the steps wl be clear that ome ofthe seeps are more abou the dzeroras manage wile other cll m on the director sills as an ats. However, the wo areas of ace igymanager and arcie—are never completely separate. Ke harly rmaters how profound a director insight is int the meaning of the paysetip ifthe director cannot lead the eum of designers and 2108s o complete the production by che exabliehed deadline Director as Manager Collaboration i2the heart of play production. An enthusiastic, happy team isa producive ram. Playwright, ditector, ator, Director’s Responsibilities enero eee ee Ca O-40-42> Enc MTech oo ‘Scheduling and Managing Rehearsals rp-mmopz>s Figure 0.1 The moan drecors ais and execave mansgor The work bogie at play selection and usuafy ends shorty ater the fet perfomance. ary tsk go foward smuitneously ending and bagoning at erent ines designers, and audience al jin forces to create a production performed, liveat speci time and place. The directors the acknowledged lender ofthis collaborative proces. The director mux ws cestivig, persuasion, and encouragement to make things happen during rehearsals, So direc tors regu, ager, arg, question, and advie Successful managers do not demand, teste, or Force. The ditto sil approach eta be avoided, although some profesional and highly paid directors ase ewith great success, probably because the directors ‘reputation and Fame make it posible Direcrors set the tone ofthe entze production process, ftom play selection through closing night. How wl tbe managed? Wil tbe dey Fiend, disorganized, or efficient? The suggestions tht follow may seem like common ene, but attention to these elementary ideas wil help the director manage the production with assurance + Begin and end rears a the announced times, + Be teady to rheatse at the announced time by having everything set ‘up, including reheasl furniture and major props + Demonstrate co the actors that you are committed to making chem look good. + Exablish a ficndly bur discipined work atmosphere. + Be sure che actors have pencil with erasers (not pens) vo mark the blocking in their sips warn them chat itis key to change asthe production i eefind. + Dot expect all preblocking ideas ro work expected and is almose always necessary. blocking sw be Planning Is Part of Good Management The directors the one responsible for devising a production schedule hat wil give the company members enough ime wo do thei spective jobs suecesflly withour Feeling rushed and fared to take shortcuts. A practical rehearsal schedule gives the actors ime o explore thei oles and to develop characterization, but avoids the rik of actors gecing sual by overehearsing. Th the profesional thea, ether commercial or not-for-profit, sions have determined dhrough negotiation with management the max ‘mu cme allowed for acting rhea and technica cheat. the production needs moe time, the actors and technicians mut be paid ‘more money. “The production schedule should allow ime for collaboration with designers and technicians. People espect hose who manag ime sient The director wil ar admiration by being prepared fr design conference and rehearsals stating on time, and ending on time. Fr the ‘begins, this ak might be daunting, bue eis manageable. The director should begin planning by using calendar age enough to accep noe tions. Fin, the opening performance date should be marke, Then, che sitet should work backward so thatthe ase dates noted ate devoted to the it ep. "__Beaware hat his ia planing calendar, nota sehearsal schedule At this stage of planning, the director should nor be expected to decide what ‘will be rehearsed at each session; those decisions will be made after cast- ing (when actos confcscan be accommodated) and the director beter understands the architecture and meaning ofthe playcrp. Keep the following ia mind ar you prepare the preliminary planning calendat, + Study and conceprualization, Allow sufficient time ro select a play- script and study it This fst phase of planning should inlude ime for whatever research is needed. Ics ding this period tha the directo should come ro rips with the word ofthe play and phrase a production concep + Organization. Another block of time shuld be reserved for organie- ing the production, including designing and caxing, In profesional, community, and educational theates, this second phate oforganiza- tion alo includes budgeting, Beginning diectors for classroom pro «ees usually do not have budgets, * A safety net. Al directors would be wite to include a buffer period ‘beoween casting end rehearsing in case casting requires more time. During this cushion, the specific rehearsal chedule should be made ‘up, working around the conflicts each ator iste a auditions + Awful guideline. As rule of thumb, experienced duetor allot at leas one hour of rehearsal ime for every minute of playing time. Directors of casroom projets thst are performed in about eleven ‘minutes are urged to schedule a es eleven hou of ehearsl Notice how many hours of eer allotted by decors of main- ‘sage productions atyour school, Does this general rule hold tue? + Distribute the rehearsal time Spead rehearse overtime, I the none ‘union production i o be 130 minuces long (net counting intermis- sions), spread the rehearsals over six weeks. Ifyou are rehearsing a ‘emainute play, schedule rehearsals over cwo weeks. Tis wil give the actors time to assimilate thee rales ad learn lines. Srgentzation | organaton|orgetzton Perormance Cro socing, ara, ndcasig fan orebsrans Such cuneate Seoed ra ‘Sut pleat ng tenor read Sang wh Gye parang rang ly toe non Some Rebearsal Strategies Rehearsing is primarily abou the actors. They ate the ones who will om- snunicate he plays to the suience. The rhea chedule must allow actors time o explore the stipt and is posites, co experiment with character choices, o become confiden enough o pesonalze the characters, and to devel relationships withthe oer actorlchraces. ‘These goal can be accomplished ifthe director respects the actors and

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