THE DIRECTOR

THE DIRECTOR

•  Director = The person who rehearses the performers & coordinates their work with that of others, such as designers, to make certain that the event is performed appropriately, intelligently, & in an exciting manner.

The Director works with…

•  The Producer: – Usually hires

director – Provides

financial backing for production

The Director works with…

•  The Stage Manager: –  Acts as director’s

assistant –  Records rehearsal

activities –  Runs technical

aspects of production during performances

The Director works with…

•  The Playwright: –  Modern play – may

contact playwright (if accessible) to discuss ideas & motivations

–  New play – will work closely together to smooth out possible problems

Tom Stoppard

The Director works with… •  Designers:

–  Set –  Costumes –  Lights –  Sound –  Special Effects

The Director works with… •  The Actors:

–  The people who perform the action of the play

The Director

•  The director’s work is one of the least obvious to the audience: –  Playwright – hear words &

see plot –  Designers – see set/

costumes/lights/special effects & hear sounds of the show

–  Actors – see their movement & hear their voices

How do you become a director?

•  Be a former actor or designer or stage manager – i.e. lots o’ experience!

•  Train in an academic institution with a specific degree in directing

The Director - A Historical Perspective •  Ancient Greece/Rome

–  The playwright was the overseer of the production

Aeschylus

Seneca

The Director – A Historical Perspective

•  The Renaissance –  Playwright of a

company

Shakespeare

Moliere

The Director – A Historical Perspective •  The 17th to 19th century

–  Actor-managers: •  Actor who served as

managers of acting companies

•  Performed many of the functions of a director

David Garrick

William Charles Macready

Henry Irving

The Director – A Historical Perspective

•  The Modern Director –  Late 1800’s – became a clearly defined role –  Thanks to – George II, Duke of Saxe-Meiningen,

a German nobleman •  Began to supervise every element of the theatrical

productions in his ruling realm.

The Director – A Historical Perspective

•  The Auteur Director –  “auteur” = French, “author”

–  The point-of-view comes from the director, because the director controls/shapes all elements of the production, including the script

–  Vsevolod Meyerhold (1874-1940)

–  Popular method with avant-garde directors

The Director at Work

•  What does a director do? 1.) Chooses a script

-- Attracted to or drawn to script -- Must have clear understanding of

script & playwright’s point-of-view -- What about a new script?

- Will meet with playwright to gain understanding & work through foreseeable problems in script

The Director & The Playwright

•  After the playwright, the director is usually the first to become involved in the creative process of a production.

The Director & The Playwright

•  The Director must understand the Playwright’s Point-of-View: –  Create’s “The Director’s Vision”

•  The director translates it into production terms, making it clear to designers, performers, & other artists/technicians

•  The overall “direction” of the production is based on what the director believes is the playwright’s point-of-view

The Director at Work

•  2.) Analyzes the script –  Finds the “spine” of the

play –  Finds in the script the

general action that “motivates the play” – the fundamental action or conflict = the main action

The Director at Work •  Different directors will find

different “spines” for the same play –  i.e. Romeo & Juliet

•  “Where a director has not determined on a spine for his production, it will tend to be formless. Each scene follows the next without necessarily adding up to a total dramatic ‘statement’”

– Harold Clurman, Director

The Director at Work

•  How to find the “spine” – Script Analysis •  Modern Formalistic Script Analysis –

usually based on the 6 elements of drama set forth by Aristotle in The Poetics. –  Plot –  Character –  Thought –  Diction –  Music –  Spectacle

SCRIPT ANALYSIS •  First, basic information –

–  Who is the playwright? •  If dead –

– Read biographies about playwright & contemporaries

–  Find critiques/critical essays of their work – Read their other works (plays, short stories,

novels) –  Study other productions & how they were

received

•  If living – –  Try to contact –  Find interviews & articles about – Read their other works (plays, short stories,

novels) –  Study other productions & how they were

received

Henrik Ibsen

Jim Grimsley

SCRIPT ANALYSIS •  THE PLOT – How is the play constructed?

–  The Foundations of the Plot: •  Given Circumstances

–  Time = »  1. when play was written »  2. when the play is set »  3. the time that passes during the course of the play

–  Place = physical environment »  1. geographic locale »  2. specific locale

–  Society = Families, Friendships, Occupation Groups, Status Groups, & Social Standards

–  Economics = Large-scale & Small-scale –  Politics & Law –  Intellect & Culture –  Spirituality –  The World of the Play

•  Background Story –  Technique= when is background info brought into the plot –  Identification= events, character descriptions, & feelings

SCRIPT ANALYSIS

•  THE PLOT – –  Physical & Psychological Action

•  Physical Action (External Plot) –  The physical action needed to carry out the story

»  Entrances/Exits »  Use of Props »  Special Physical Activities

•  Psychological Action (Internal Plot) –  Concerns the mental, spiritual, or emotional lives of characters –  Expressed through:

»  Assertions »  Plans »  Commands

SCRIPT ANALYSIS •  THE PLOT -

–  Progressions & Structure •  Progressions

–  Beats = smallest dramatic progression –  Units = tightly connected beats –  French Scenes = entrance or exit defines scene –  Scenes = progression of related units –  Acts = largest dramatic progression

•  Structure = how the action rises & falls –  Point of Attack = moment when play begins in relation to the background

story at one end & the climax at the other –  Inciting Action = single event that sparks the main action –  Complications or Obstacles –  Crises –  Climax –  Resolution = all events following climax

SCRIPT ANALYSIS •  CHARACTER – Who are the people in the play?

–  Objectives = specific goals that characters aim to achieve –  Dramatic Action = behavioral tactics characters employ to

achieve their goals –  Conflict = tension that arises from characters’ opposing

views –  Willpower = degree with which characters pursue their goals –  Values = characters’ choices of the good & bad in life –  Personality Traits = characters’ physical & vocal i.d. that

reveal their individuality –  Complexity = draws focus – more complex = major character –  Relationships = antagonist v. protagonist/affiliations with

other characters

SCRIPT ANALYSIS •  THOUGHT/IDEA – What does the play mean?

–  Words •  Title – “subliminal” message •  Discussions – between characters – opinions/ideas •  Epigrams – proverbs, quotes •  Allusions – implied reference – literature/person or event outside play •  Set Speeches – long uninterrupted speeches •  Imagery – any words used to represent people, places, or things, feelings or ideas, or

sensory experiences •  Intentional Symbolism – direct equation – scales = justice •  Prologue or Epilogue

–  Characters •  Narrator or chorus – tells story to the audience •  Raisonneur – narrator who always remains within the action – often skeptic •  Confidant – character with the technical function of listening sympathetically to lead •  Normative Character – character who has successfully adjusted to the dominant

standards in the world of the play –  Plot

•  Parallelism – when characters are intentionally linked with other characters •  Conflict – stems from opposition of the customs or beliefs of a society against a different

order •  Climax – where all points of the play converge

–  Main Idea = the result of the entire presented experience of the play

SCRIPT ANALYSIS

•  DICTION/DIALOGUE – What does the play say? –  Words –

•  Abstract & Concrete •  Formal & Informal •  Jargon & Slang •  Connotation

–  Sentences – Length/Kinds/Rhythm –  Speeches – Punctuation/Linking/Arrangement –  Special Qualities - Poetry/Charm/Dialect/Accent –  Theatricality – Action/Emotion/Subtext

SCRIPT ANALYSIS

•  MUSIC – How does the play feel & sound? –  Tempo = temporal relationship between one

spoken word & another – frequency of information

–  Speed = measurable rate of speech in real time –  Pace = the spectator’s subjective perception of

speed emotionally –  Rhythm = pattern of changing tensions in the

beats, units, scenes, & acts – a pulsing feeling •  Mood = particular state of persistent emotion

– the play’s atmosphere

SCRIPT ANALYSIS

•  SPECTACLE – How does the play look? – Spectacle is more than visual adornment, it…

•  Establishes environment •  Enriches characterization •  Indicates mood or style •  Enhances the play’s meaning •  Helps capture & hold audience’s attention •  Contributes to the audience’s aesthetic pleasure

The Director at Work

•  3.) Selects a Production Style

–  Production Style = The “way” in which a play is presented

–  The director has a large selections of “styles” to choose from.

–  These styles may be divided into 2 categories:

•  Realism & Nonrealism

TYPES OF REALISM

•  Naturalism = kind of superrealism –  Shows humans as products of heredity & environment –  Puts on stage an “exact” replica of real life –  “Slice of life” –  Characters speak & act as if they have been caught

unobserved

TYPES OF REALISM

•  Heightened Realism or Selective Realism –  Characters & activities are intended to resemble

real life, but a certain license is allowed

TYPES OF REALISM

•  Realism = falls between naturalism & heightened/selective realism

TYPES OF NONREALISM •  Allegory

–  Representation of an abstract theme or subject through symbolic characters, actions, or other elements of a production – i.e. The Crucible

–  Often serves as a parable or lesson

TYPES OF NONREALISM

•  Expressionism –  Popular during the 1st quarter of the 20th century –  Gives outward expression to inner feelings

TYPES OF NONREALISM •  Symbolism/Impressionism

–  Extreme simplification of realism –  Few objects, carefully selected give the impression of a

place –  Selected objects may represent or “symbolize” a larger

place

TYPES OF NONREALISM •  Formalism

–  Less suggestion of location –  Simple architectural elements make-up a neutral background –  Often used with classic scripts

TYPES OF NONREALISM •  Theatricalism

–  Shows the audience the artifices of the theater –  Visible light sources –  Multimedia –  Often associated with arena stages

DIRECTORIAL STYLE

•  Directorial Style – Gives signature & imprint to entire

production – Should be appropriate for the play – Should be consistent throughout every

aspect of the production

The Director at Work •  4.) Creates

Directorial Concept •  Directorial Vision

or Concept = the way in which the spine is embodied in a production & implemented style

•  Creates unified theatrical experience for spectators (mis en scene)

THE DIRECTORIAL CONCEPT

•  Concept & Period –  Time period = use

original or change? –  Often classics are

changed •  Greek/Roman •  Shakespeare •  Moliere

Tartuffe

THE DIRECTORIAL CONCEPT

•  Concept & Central Image –  Central or controlling image/

metaphor –  Expounds itself in:

•  The set •  The performers relation to one

another •  The small details

THE DIRECTORIAL CONCEPT •  Concept & Purpose

–  Concept should serve play and be supported by the text –  Gimmicky – calls attention to direction, not script

Two Gentlemen of Verona

THE DRAMATURG

•  An Aide to the Director –  Dramatic adviser/literary manager –  Often aids director in research & analysis –  Duties include:

•  Discovering & reading new scripts •  Identify significant plays from the past that may

have been overlooked •  Conduct research on previous productions •  Prepare reports on history of plays •  Research criticism & interpretations of plays from

the past •  Writes articles for the programs

The Director at Work •  5.) Casts production

–  Audition performers –  Assign appropriate

performer to appropriate character or “Cast”

–  Typecasting = when performers closely resembles in real life the character to be enacted

–  Castlist = official notice listing what characters will be played by which performers

–  Cast = performers selected to portray the characters of a script

The Director at Work

•  6.) Supervises rehearsals –  Serves as audience’s

eyes during rehearsal process

–  Rehearsal Process •  Straight Play = 4 weeks •  Musical = 6 weeks •  Equity = Tuesday

through Sunday, 9 to 5

REHEARSALS •  What happens during the rehearsal process?

–  Read-through = when performers sit around a table and read the script together for the first time

–  Blocking – deciding when and where performers move & position themselves on stage

–  Stop & Go Rehearsals – when the director stops performers in action to give notes

–  Visual Composition/Stage pictures – shaping of space •  The overall physical arrangement of performers on stage

REHEARSALS

•  Movement, Pace, & Rhythm - shaping of time –  Too quickly – words

are missed or misunderstood

–  Too slow – spectators become distracted or bored

REHEARSALS

•  Technical Rehearsals –  Paper Tech – Director, Stage Manger, &

Designers meet to talk through design aspects of show & cues

–  Set, special effects, & lighting elements are introduced to performers

–  Run-through = performers “run” the entire show beginning to end without director stopping for notes

REHEARSALS

•  Dress Rehearsals –  Make-up,

wigs, & costumes are added to the rest of the technical elements

–  Very close to the finished product

PREVIEWS

•  Previews/Tryouts –  “Open rehearsals” –  Actual audience who knows they are seeing a

possibly “unfinished” product – often invited –  When directors, performers, & sometimes

playwrights, find out what works & what doesn’t through audience reaction

–  Maybe one or two nights –  For Broadway, it’s several weeks

OPENING NIGHT

•  When production opens to the “public” –  Critics normally attend

to review –  Celebration –  Usually the last night

the director is involved in the production

The Director’s Power & Responsibility •  The director has a “voice” in almost every aspect of a theatrical production

•  Two-edged sword of power –  Too carried away with one

idea, the audiences’ experience will be unsatisfactory

–  Strong point-of-view, well-balanced & consistent – the experience will be meaningful & exciting, possibly unforgettable

DON’T FORGET!!!

•  QUIZ 6 – completed on Blackboard before moving on to Chapter 7