The Director

Harold Prince
 The Role of the Director

 The director organizes the production.

 Oversees the acting, staging and all technical aspects
of the production.
 Gives the play vision and purpose. Supports the
playwright’s words.
 Inspires the entire team with an idea and goal.
 The Process

 Every director has his or her own style.

 Your book discusses the process as a generic
example.
 Every director approaches a project in a slightly
different way. Keep that in mind.
 The process of directing a play has two distinct parts.
 Two Major Parts

 Preparation Period
 Implementation Period
 Preparation

 This is the period when the play is chosen, the

producer is found and the director establishes a
concept.
 This concept is what will drive the production team to
help tell the story.
 Choosing The Play

 May originate from the producer or director

 Four major considerations
 Will it be liked by the audience? (Make money)
 The director will select a play for a unique fresh quality. Introduce
them to something new.
 The job of the director is to make sure the play will cater to the
wants of the audience.
 Does the director support the script?
 Is the artistic team excited by the project?
 Can it be successfully staged within the budget?
 Is there enough money? Costumes, Scenery, Lighting, Cast and
Sound.
 Is there enough talent?
Adapting The Play
 Adapting The Play

 Cutting the text is very common. Some director’s

want to make a shorten version of the original text.
Some original work will produce a 4 hour show. A
modern audience expects a 2 hour play.
 Changing the dramaturgy of a script is also done.
This can completely change the style and classic
feeling of a play.
 Charles Marowitz completely altered the Taming of the Shrew
and renamed the play, The Shrew.
 Conceptualizing The Production

 Creating a main concept that unifies the entire

production.
 There are two different types of directorial concepts.
 Core Concept
 High Concept (Not all shows require this)
 Core Concept

 The main central image that the director want to

convey to the audience.
 Although many plays have several ideas and images,
it is important to establish one central idea or image
in order to create unity and focus. Too many main
ideas can create a mess from the audience’s stand
point.
 The director must decide what the core concept is.
 High Concept

 The ability to reinvent the play.

 This could be as simple as changing the period the
play was written. Making a Shakespeare play take
place in a post-apocalyptic environment.
 This can revitalize a production and give insight to
images and themes within the play.
 The director’s concept is very personal, it’s his or her
vision.
 The director’s concept leads the actors and design
team.
 Implementation Period

 The director is the head of the artistic team.

 He or she shares their concept with the designers to give
them a focus and starting point.
 Normally, the director selects the designers.
 Usually they have an existing collaborative relationship with them.
 All directors are different
 Some are very hands on with the design components and others let
the designers run with their ideas.
 Designers and directors sometimes don’t see eye to eye on every
aspect. These differences need to be worked out prior to
implementation.
 Collaboration is a key ingredient to a successful career in theatre.
 Casting

 One of the most important jobs of the director. A cast

can either make or break the production.
 The actors are what the audience will remember. If
the actors are not right for the role, the production
will not succeed.
 Think about some of the great actors that played
rememberable characters.
 In professional theatre, the casting director usually
does the initial casting. Once preliminary screening is
performed, the director will audition the actors.
 Rehearsal

 The period of memorization, staging and rehearsal of

scenes.
 While rehearsal is happening all design aspects are
happening.
 At the end of this process all technical and acting
components will be incorporated. This period is
called technical rehearsal.
 During the technical rehearsal, the director is going back and
forth between focusing on the acting and giving the designers
notes.
 Staging

 Positioning the actor in space and time is referred to as staging.

 Staging is determined by the blocking of the actors. Blocking is
the term used to position the actors on stage and determine
their movements, entrances and exits.
 The business the actor perform on stage refers to the small
actions that keep the actor busy. The actor may answer the
phone or wash a dish. Generally generated by the actor however
the director will make suggestions.
 Directors block a show in different ways.
 Block the show on paper
 Block the show with the actors on stage.
 The approach the director takes will be determined by schedule
and the demands of the play.
 Presenting

 If the show has previews, the director will take notes,

make cuts and fine tune the production.
 Sometime a dramaturge will be called in to evaluate
the production and respond to any needs.
 Once the show opens, the director steps back and
lets the stage manager, crew and actors run the show.
 The director is isolated and now one of the audience
members. The actors receive the applause and
accolades.
The Producer
 Finding a Producer

 The producers can be

 An individual

 A group or organization
 Shubert
 Disney
 Nedelander

 A committee
 College university
 Board of Directors
 Regional Theatre
What Is The Producer’s Job?
 Producer’s Job

 Managing the budget

 Providing or acquiring the financing
 Legal obligations
 Hiring or firing
 The History of the Director

 The job of the director as we know it is relatively new. The

specific job title was not used until the 1800’s.
 The Greeks referred to the director as the “didakalos” or
teacher.
 In the medieval times the director was called the master.
 The idea was, the teachers had mastered the craft.
 During the Greek period the playwright would quite often
direct the play. They were asked to pass along their knowledge
of performance techniques.
 During the eighteenth and nineteenth centuries there was a
push to reproduce the works of the classic plays. Since the
playwrights weren't around, a director was needed to accurately
produce the play on stage. These directors did not have the
recognition that they do today.
 Directors of Realism

 To create a more lifelike production.

 Steer away from the traditional star onstage
surrounded by the supporting actors. The ensemble
was created.
 Ie. Oedipus Rex Production
 George II, Duke of Saxe-Meningen (1826-1914)
 First director of realism (first modern director)
 Other directors included Andre Antoine and
Konstantin Stanislavski.
 Directors of Realism

 The importance of these directors is their innovations

in the incorporation of the psychological
interpretation.
 The internalization of a character. Adding realistic
nuances to the production.
 These people brought attention to the importance of
the director.
 Directors of Antirealism

 A revolt against realism.

 Directors joined forces with non realistic playwrights
to create a modern antirealist form of theatre.
 These people demanded that the goal of directing was
the creation of originality, theatricality and style.
 This allowed the director to stray away from rigid
guidelines.
 Directors of Antirealism

 Paul Forte was a pioneer in this style of directing.

 He launched Theatre d’art in Paris in 1890.
 Other pioneers include Vsevolod Meyerhold.
 He launched the theatre of biomechanical constructivism.
 The leader of this phase of directing was Gordon
Craig. Although he was not a director, he believe the
director could be compared to the captain of a ship.
 He believed the director should have complete control of all
aspects of the production.
 The Contemporary Director

 The director today has the freedom to create with

unlimited possibilities.
 The director’s role has progressed from a simple
teacher to a magician with complete control.
 Summary

 Directors come from all areas of expertise. Some started

as actors or designers and others were producers.
 There are training programs throughout the united states
that give top notch training in the performing arts.
 Directors usually will have a vast and strong
understanding of all disciples including theatre history
and design.
 This strong and well rounded education allows the
director to collaborate and communicate effectively will
the entire production staff.