Community Theater Green Room Discussion Board: I need help

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sonshine
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Joined: 3/23/08
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Topic: I need help
Posted: 8/25/08 at 1:57pm

I am directing my first full length play and I am so confused about blocking. The play is called Love Line and takes place on a cruise ship. In most Christian plays (we are a Christian theatre company) the playwright's have very little on blocking. How do you block a play with this challenge?

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imamember
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Posted: 8/25/08 at 2:04pm

Read the script...let it play out in your head. Christian play or not, that should be self explanatory.

Even in a secular play, I rarely if ever pay attention to the blocking in a script.

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belle
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Joined: 9/12/06
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Posted: 8/25/08 at 2:51pm

Search local libraries for books on beginning directing. They will have chapters with illustrations on blocking. Find something practical, not just philsophical. (The philosophical ones are good when you have time, but right now you need the practical approach.)

There is also a really good video tape that you might be able to borrow from a college library or get through interlibrary loan. It's just called blocking. It talks a lot about working with actors, using a groundplan, preblocking, creating a stage picture, and breaking down scenes into units. You can use google to find the full title and information. Amazon may sell it.

There are some principles that you need to know about crossing, advancing lines, retreating lines, using the whole stage, strong/weak stage positions, telling the story throught the blocking, open and closed stance, cheating out, and blocking several people to mention only a few. The lines in the script are the basic guide, but you need more than that at the beginning.

If you are working with inexperienced people, I strongly recommend preblocking--writing down in the script where you want people to stand, sit and cross. You will also need to work out the groundplan of the play before you start preblocking. Inexperienced people will also need help with business, especially how to find business in the script. (i.e. script says "Stop that!" What is the other person doing to motivate that line?)

Preblocking is good because you can change it if it doesn't work. Sometimes you need an actor in a certain place to make something later happen. You can discover that problem and go back and fix the blocking if you do it before you work with the actors. My actors like to be able to write down their blocking and learn it with their lines. (That's something to STRONGLY encourage.)

I direct comedies and musicals. If you are working with dramas and and people who are serious actors, you may not want to use this approach. They like more "process."

If you have experienced or naturally talented people, they will have lots of ideas. Let them try them. You will need to make the final decision and set the blocking at a certain point in the rehearsal period. If I have trouble with certain places, I get the actors' help with the blocking.

Blocking the play is one of the parts I enjoy the most (after 30 years). You need to be able to "see" the actors on the stage as you read the script. It gets easier with practice, but I think to be an effective director, you need to enjoy blocking.

Some directors do blocking with the actors on the stage as they work through the script. I expect people here will tell you about that approach. I have found it very inefficient (but not necessarily ineffective). Our group has a limited number of rehearsals so we don't have time to play around with the blocking and "discover" it.

Best wishes.

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ipspea
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Posted: 8/25/08 at 7:00pm

I totally agree with the 2 previous posts: you need to be familiar enough with the script to have it play out in your head. You know, like reading and having the "movie" of it running thru your head as you read.

I also like the approach of giving the blocking first so the actors can learn lines as they move. When I directed my first show last year, I gave the blocking to the cast before we started each rehearsal. It helped them to learn it that way and helped me a great deal to see it for real.

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pdavis69
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Posted: 8/26/08 at 8:40am

As silly as it sounds, I have done basic blocking using a scale model of the set and lego people. I do this ahead of time so I have an idea of what I want things to look like before I share it with the cast.

Patrick L. Davis
Fort Findlay Playhouse

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belle
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Posted: 8/26/08 at 10:34am

The video is Blocking a Scene with Actors with Michael Joyce. Amazon no longer has it. It's expensive ($148) , but libraries should be able to get it for you through interlibrary loan.

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DWolfman
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Posted: 8/26/08 at 12:30pm

The first play I directed I used pennies labeled with character intials atop a diagram of the set and moved them around from position to position while making notes in my script. In my mind, I tried to picture the stage from the audience viewpoint making sure of a couple of things:

1) Viewing angles so as not to cover an important character

2) Pointing focus (by separating from others, or having others turn to them, etc) when characters had important lines to deliver

3) Creating a pleasing "stage picture" for the audience

4) Acting as "traffic cop" for exits and entrances so people don't run into each other

There are other concepts that you will probably discover yourself once you start. One thing I would recommend you stay away from: movement for movement's sake. It is much better that the characters' wants, needs, and motivation urge the movement.

Even a man who is pure of heart...

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sdiehl
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Joined: 1/21/08
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Posted: 8/26/08 at 1:13pm

Honestly, and maybe I am a novice at this, but I kind of fly by the seat of my pants. I have the actors move according to the script for the first week of rehearsal and then fine tune as we go. I also have my actors contribute to the "why am I moving" aspect of it. Also "what would my character be doing" questions helps. Sometimes the script give good direction, but sometimes it is also the actors interpretation of the character that helps. When an actor asks me when to move, I try no to say "I don't know" and answer with " Why don't we try this" I realize that this is kind of an unprofessional way of doing things, but the whole process is supposed to be creative and not too rigid. At least that is my two cents.

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JoeMc
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Joined: 3/13/06
Location: Australia
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Posted: 8/26/08 at 10:27pm

As Patric suggested 'Lego' is a very useful tool, when blocking. Which also helps with set design.

I still use my sons Lego set I half inched from him, some twenty odd years ago, when he grew out of playing with it?

As others posted read the script & read it again. Let it incubate & mull over in your mind. To the point of dreaming about it & even having nightmares!

Gain input from your production team & designers. Allow the warm props interpretations of movement & motivation. Keep an open open mind, as closed mind will never accept a creative accident.

Find yourself a good Stage Manager who understands the process & can ensure the mechanics of your interpretation & concept.

I normally mark out the stage in the rehearsal area the first time & the SM carries this out from then on.

Rather than using tape to define the area, I use string. It easier & quicker to set up, holding down the string ends with gaff or masking tape. Also any setting changes can be quickly effected, especially in venues where they frown on taping floors or marking them with chalk. It works well when using venue stages for rehearsal & not interfering with the stage floor, which might be painted for another production.

I first off ensure my cast understand the theatre terminology that will be used for staging positions. also how to notate in pencil their moves on the script & understand them?

Defining the stage;-

http://www.blue-room.org.uk/wiki/Defining_the_Stage

Not that you use thes terms over there, but I find it very helpful from not only an actors point of view, but the production teams as well.

By adopting the use of PS {[Prompt side] stage left. OP {[opposite Prompt] stage right} besides using Stage left & right. As it does help with orientation from a techies point of view.

[western] Gondawandaland
"Hear the light & see the sound!
TOI TOI CHOOKAS
{may you always play to a full house!}

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SherrieAnne
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Joined: 8/08/06
Location: United States
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Posted: 8/26/08 at 10:43pm

Lego people!!! I went out and bought a bag of little plastic figure people (I think they're supposed to be policemen and fireman, but it was the dollar store, so I didn't much care!) to use - I thought I was nuts, but I guess I'm not THAT crazy!!!

There's a little bit of diva in all of us. Some just have a larger helping than others.

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Directing
Community Theater Green Room Discussion Board :Producing Theater :Directing

Author	Message
sonshine Lead Joined: 3/23/08 Location: United States Online Status: Offline Posts: 33	Topic: I need help Posted: 8/25/08 at 1:57pm
	I am directing my first full length play and I am so confused about blocking. The play is called Love Line and takes place on a cruise ship. In most Christian plays (we are a Christian theatre company) the playwright's have very little on blocking. How do you block a play with this challenge?

	IP Logged

imamember Celebrity Joined: 8/18/08 Location: United States Online Status: Offline Posts: 121	Posted: 8/25/08 at 2:04pm
	Read the script...let it play out in your head. Christian play or not, that should be self explanatory. Even in a secular play, I rarely if ever pay attention to the blocking in a script.
	IP Logged

belle Star Joined: 9/12/06 Online Status: Offline Posts: 75	Posted: 8/25/08 at 2:51pm
	Search local libraries for books on beginning directing. They will have chapters with illustrations on blocking. Find something practical, not just philsophical. (The philosophical ones are good when you have time, but right now you need the practical approach.) There is also a really good video tape that you might be able to borrow from a college library or get through interlibrary loan. It's just called blocking. It talks a lot about working with actors, using a groundplan, preblocking, creating a stage picture, and breaking down scenes into units. You can use google to find the full title and information. Amazon may sell it. There are some principles that you need to know about crossing, advancing lines, retreating lines, using the whole stage, strong/weak stage positions, telling the story throught the blocking, open and closed stance, cheating out, and blocking several people to mention only a few. The lines in the script are the basic guide, but you need more than that at the beginning. If you are working with inexperienced people, I strongly recommend preblocking--writing down in the script where you want people to stand, sit and cross. You will also need to work out the groundplan of the play before you start preblocking. Inexperienced people will also need help with business, especially how to find business in the script. (i.e. script says "Stop that!" What is the other person doing to motivate that line?) Preblocking is good because you can change it if it doesn't work. Sometimes you need an actor in a certain place to make something later happen. You can discover that problem and go back and fix the blocking if you do it before you work with the actors. My actors like to be able to write down their blocking and learn it with their lines. (That's something to STRONGLY encourage.) I direct comedies and musicals. If you are working with dramas and and people who are serious actors, you may not want to use this approach. They like more "process." If you have experienced or naturally talented people, they will have lots of ideas. Let them try them. You will need to make the final decision and set the blocking at a certain point in the rehearsal period. If I have trouble with certain places, I get the actors' help with the blocking. Blocking the play is one of the parts I enjoy the most (after 30 years). You need to be able to "see" the actors on the stage as you read the script. It gets easier with practice, but I think to be an effective director, you need to enjoy blocking. Some directors do blocking with the actors on the stage as they work through the script. I expect people here will tell you about that approach. I have found it very inefficient (but not necessarily ineffective). Our group has a limited number of rehearsals so we don't have time to play around with the blocking and "discover" it. Best wishes.
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ipspea Walk-On Joined: 11/08/04 Location: United States Online Status: Offline Posts: 0	Posted: 8/25/08 at 7:00pm
	I totally agree with the 2 previous posts: you need to be familiar enough with the script to have it play out in your head. You know, like reading and having the "movie" of it running thru your head as you read. I also like the approach of giving the blocking first so the actors can learn lines as they move. When I directed my first show last year, I gave the blocking to the cast before we started each rehearsal. It helped them to learn it that way and helped me a great deal to see it for real.
	IP Logged

pdavis69 Celebrity Joined: 3/26/06 Location: United States Online Status: Offline Posts: 437	Posted: 8/26/08 at 8:40am
	As silly as it sounds, I have done basic blocking using a scale model of the set and lego people. I do this ahead of time so I have an idea of what I want things to look like before I share it with the cast.
	Patrick L. Davis Fort Findlay Playhouse
	IP Logged

belle Star Joined: 9/12/06 Online Status: Offline Posts: 75	Posted: 8/26/08 at 10:34am
	The video is Blocking a Scene with Actors with Michael Joyce. Amazon no longer has it. It's expensive ($148) , but libraries should be able to get it for you through interlibrary loan.
	IP Logged

DWolfman Celebrity Joined: 7/07/05 Location: United States Online Status: Offline Posts: 134	Posted: 8/26/08 at 12:30pm
	The first play I directed I used pennies labeled with character intials atop a diagram of the set and moved them around from position to position while making notes in my script. In my mind, I tried to picture the stage from the audience viewpoint making sure of a couple of things: 1) Viewing angles so as not to cover an important character 2) Pointing focus (by separating from others, or having others turn to them, etc) when characters had important lines to deliver 3) Creating a pleasing "stage picture" for the audience 4) Acting as "traffic cop" for exits and entrances so people don't run into each other There are other concepts that you will probably discover yourself once you start. One thing I would recommend you stay away from: movement for movement's sake. It is much better that the characters' wants, needs, and motivation urge the movement.
	Even a man who is pure of heart...
	IP Logged

sdiehl Walk-On Joined: 1/21/08 Location: United States Online Status: Offline Posts: 0	Posted: 8/26/08 at 1:13pm
	Honestly, and maybe I am a novice at this, but I kind of fly by the seat of my pants. I have the actors move according to the script for the first week of rehearsal and then fine tune as we go. I also have my actors contribute to the "why am I moving" aspect of it. Also "what would my character be doing" questions helps. Sometimes the script give good direction, but sometimes it is also the actors interpretation of the character that helps. When an actor asks me when to move, I try no to say "I don't know" and answer with " Why don't we try this" I realize that this is kind of an unprofessional way of doing things, but the whole process is supposed to be creative and not too rigid. At least that is my two cents.
	IP Logged

JoeMc Celebrity Joined: 3/13/06 Location: Australia Online Status: Offline Posts: 832	Posted: 8/26/08 at 10:27pm
	As Patric suggested 'Lego' is a very useful tool, when blocking. Which also helps with set design. I still use my sons Lego set I half inched from him, some twenty odd years ago, when he grew out of playing with it? As others posted read the script & read it again. Let it incubate & mull over in your mind. To the point of dreaming about it & even having nightmares! Gain input from your production team & designers. Allow the warm props interpretations of movement & motivation. Keep an open open mind, as closed mind will never accept a creative accident. Find yourself a good Stage Manager who understands the process & can ensure the mechanics of your interpretation & concept. I normally mark out the stage in the rehearsal area the first time & the SM carries this out from then on. Rather than using tape to define the area, I use string. It easier & quicker to set up, holding down the string ends with gaff or masking tape. Also any setting changes can be quickly effected, especially in venues where they frown on taping floors or marking them with chalk. It works well when using venue stages for rehearsal & not interfering with the stage floor, which might be painted for another production. I first off ensure my cast understand the theatre terminology that will be used for staging positions. also how to notate in pencil their moves on the script & understand them? Defining the stage;- http://www.blue-room.org.uk/wiki/Defining_the_Stage Not that you use thes terms over there, but I find it very helpful from not only an actors point of view, but the production teams as well. By adopting the use of PS {[Prompt side] stage left. OP {[opposite Prompt] stage right} besides using Stage left & right. As it does help with orientation from a techies point of view.
	[western] Gondawandaland "Hear the light & see the sound! TOI TOI CHOOKAS {may you always play to a full house!}
	IP Logged

SherrieAnne Star Joined: 8/08/06 Location: United States Online Status: Offline Posts: 72	Posted: 8/26/08 at 10:43pm
	Lego people!!! I went out and bought a bag of little plastic figure people (I think they're supposed to be policemen and fireman, but it was the dollar store, so I didn't much care!) to use - I thought I was nuts, but I guess I'm not THAT crazy!!!
	There's a little bit of diva in all of us. Some just have a larger helping than others.
	IP Logged

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