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Directing | |
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Author | Message |
mikejmurray
Player ![]() Joined: 9/18/06 Online Status: Offline Posts: 24 |
![]() Posted: 7/04/07 at 11:43am |
Hi, I'm 24 years old and have been doing theater all my life, primarily acting. Over the past 2 years I've directed 2 shows for our local Fringe Festival. I've received good feedback but am always wanting to learn more about directing. I've read On Directing, A Sense of Direction, and Thinking Like A Director. Are there any other books you'd recommend? Also, for those who've been doing it awhile, what is the biggest thing you've learned about directing? I know every director has their own approach. Some get the actors on their feet the first day, others do extensive table work, some work out blocking in detail, others give actors freedom to create their own, etc. I'm just interested in hearing different methods. Thanks! |
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Gaafa
Celebrity ![]() ![]() Joined: 3/21/04 Location: Australia Online Status: Offline Posts: 1181 |
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"To aproach the stranger
is to invite the unexpected. release a new force & let the genie out of the bottle. is to start a new train of events, beyond your control." (T S Eliot) Have an open mind so you can acept a creative acident, as a closed mind can't. Close the I's & start We'n every where. Apply the 5 R's - (Preplanning Prevents P'ss Poor Production) Besides all that drivel seek out a good SM & production team. |
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Joe
Western Gondawandaland turn right @ Perth. Hear the light & see the sound. Toi Toi Toi Chookas {{"chook [chicken] it is"} May you always play to a full house} |
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jayzehr
Celebrity ![]() Joined: 8/11/05 Location: United States Online Status: Offline Posts: 537 |
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This isn't really a technical thing, but I've gradually come to the conclusion that one of my biggest goals in directing a play is to get through it without any kind of negative emotional outbursts or hurt feelings. So many productions will go south with people complaining and bitter about this or that and the director can be oblivious. I try my best to keep lines of communication open and to observe if actors are frustated or upset and then attempt to solve the problem. Of course, I fail constantly but I try.
I also try to be as open as possible to ideas from the cast and crew. I make sure I get the final vote, but theater is a collaborative process and a good idea is a good idea no matter who comes up with it. |
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B-M-D
Celebrity ![]() ![]() Joined: 11/03/05 Location: United States Online Status: Offline Posts: 346 |
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I'd have to agree with that! I also think that at least 80% of directing is casting. If you have good instincts about casting you'll do well. Don't be afraid to ask people to audition and do not feel obligated to cast them should someone else give a better audition. And be open to something different than what you may be initially looking for. I directed a show where an auditionee gave me something a bit off center of what I was looking for and I had the good sense to realize that that's what I needed to go with. The actress ended up winning best supporting actress in our area's ct awards season.
Good luck!
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BD
![]() "Dying is easy, comedy is hard." |
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lessismore
Walk-On ![]() Joined: 7/04/07 Location: Canada Online Status: Offline Posts: 0 |
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One thing that I find has always helped to make any community theatre shows that I have directed more successful is an organized schedule. This might not be what you were looking for, but I always give my actors a detailed schedule on the first day of rehearsal. It outlines rehearsals from day one until we close. I always stick to the schedule, and I leave a few rehearsals as TBA closer to the end to allow me to pick up any bits that need work. Actors are always commenting on how much they appreciate my schedule; they know when they are needed well in advance, and they can plan the other things that they have to do in their lives. Also, I never call anyone unless they will be working - I always hate to sit around as an actor (unless you are being paid, of course). This type of organization isn't really part of the 'creative process', but it makes for a very happy cast. Nobody feels as though their time is being wasted. I get actors who always audition for my shows, and they have told me that this is part of the reason why they do. It makes their lives so much easier and they feel respected too.
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biggertigger
Celebrity ![]() ![]() Joined: 4/16/07 Location: United States Online Status: Offline Posts: 188 |
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The two greatest days in a theater persons life, the day you start a new show and the day the damn thing closes.
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bbpchick
Star ![]() ![]() Joined: 7/17/07 Location: United States Online Status: Offline Posts: 86 |
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I totally agree with lessismore. Having a schedule to hand out right away is a really good way to build respect right off the bat. Since I'm 25 and I'm often dealing with people 10-20 years older than I am it really makes a good impression and like lessismore said, it makes it really easy on your actors. They know what is coming.
As for how I work, my first day of rehersal is a read through. This gives everyone a chance to meet each other and guarentees that everyone reads the entire script once. After that we dive right in to working out blocking. I tell my actors that I want them to move if it feels right or do things if they have an idea and I'll tell them if I like it or not. I also get right up on stage with them when I want them to do something and show them what I mean. I've found that if I'm willing to get up there and do it myself, that they are more willing to be creative, and they know exactly what I'm looking for. I try to stay as involved as possible, rather than just sitting back in the seats and watching them stumble through.
One other thing I do is depending on the play, I do street walks. I live in a small town so a few hours before the show, I meet with my actors and we all get in costume grab a sign that says the title of the play and some postcards and go walk around main street. I don't require my actors to all go out at once, they divide it up into which days they will go. It's a lot of fun, it gives them a chance to warm up, and it gets the word out to all the tourists that have just arrived =D
I hope this helps!
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bernster74
Star ![]() ![]() Joined: 10/20/05 Location: United States Online Status: Offline Posts: 51 |
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Here's what I have done that has helped / worked / etc before. Hope some of this may be helpful.
-Read through at the first rehearsal - make this very casual - have food. Actors love food.
-I think casting is only 60% - if you don't do the right thing with the right actors, you still have a bad show.
-Enforce starting on time - this will get their work ethic where you need it right away - and don't let anyone slide that is even five minutes late.
-Make your actors write down their notes after every rehearsal - they will be much more likely to remember them and incorporate them at the next rehearsal. They can also go back a look at all of their notes to refresh their memories.
-Set an early off book date, so that you can find out sooner rather than later who is having memory trouble. Give them three or four rehearsals where they can still call for "line" if they need it.
-Make all actors rehearse in the shoes they will be wearing for the show as early as possible. Ladies walk very differently in heels. Men walk differently in heels as well if that's the kind of show you are doing.
-Similarly, if it's a period piece get them costumes early or at least rehearsal clothes. The actor in flip flops and spandex will give you fits when they have to start wearing a corset or spats during tech week.
-After every session of notes, ask the actors (or production team when available) if they have any questions.
-have the show at least 75% blocked. Let the rest come from the actors - it gives them ownership of the show.
-Have the actors start putting the show information in the email signature of their personal emails. This is a really easy, low stress way they can promote their show every time they send an email.
-Get the production company to send board members to the read through - actors love knowing their is a company behind them supporting the show.
-If an actor comes up with an "improvement" for a moment, let them try it in rehearsal at least once, this will let them know you respect their creativity while maintaining control over the final decision. This will also help alleviate tension among cast and director.
-Have the tech people their to watch a run through before you throw them backstage and expect them to move stuff around. This is immensely helpful!
-Get a strong assistant director. At the beginning of rehearsals, give them $20-$40 and tell them part of their job is to buy you several (4-5) "surprises" throughout the rehearsal process - you will be amazed at what they come up with and it will lift your spirits. Even a can of Orange Fanta can make a tough rehearsal that much better.
-Your assistant director can also run monologues with people or small scenes while you work on another scene - get twice as much work done.
-Give the cast 10 uninterrupted run throughs before you open - then they will have it in their bodies. The read-through counts as your first run through.
-When giving notes, call actors by their character names. This helps them to continue to identify with the character. If you are smarter than I and can call them by their real names outside of the rehearsal "process" then I think that's better. I have never been able to do both.
-Have the actors come up with one word that is the focal point of their character. Make it an "-ing" - so ie: controlling, loving, trusting, communicating, faking, etc. This will help them focus their performances and will always give you as the director a foundation on which to build.
-Don't give notes on the final dress. It's often very difficult for an actor to incorporate notes the first time they have an audience - it gives them too many things to try and focus on and often you will get an unfocused performance.
-Here's the one director's never manage to agree on: Do reserve the right to give notes after the show has opened. BUT - this is only if an actor "improves" their performance and those "improvements" take away from the vision of your show. No notes will be given with "new ideas" or "let's try something new with that moment" or "how about this..." - UNLESS the actor specifically comes to you and wants to change something.
-Give actors thank you notes on opening night - your job is done - this will help them take over the show.
-Have the stage manager time the show every night so that the actors will know how they are doing on pacing.
-Good casting + energy + focus + listening = a good show.
-Always remind your actors that their first job is to "be happy on the stage" - if your actors are happy to be there, then this will translate to the audience.
Okay, have I talked your e-ears off enough? Anyway - take away what you like, put the rest into the recycle bin for someone else.
Thanks,
Bernie
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Debflo
Star ![]() ![]() Joined: 6/06/07 Location: United States Online Status: Offline Posts: 60 |
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Bernie - These are all wonderful tips. A few I hadn't thought of before. I'll keep these for future projects! Thanks!
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SherrieAnne
Star ![]() ![]() Joined: 8/08/06 Location: United States Online Status: Offline Posts: 72 |
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Thank you for all of these, Bernie! I'm just about to start the process of directing my first show (to go up next summer), & even though I've been acting for more years than I care to think about, your post is going to be bookmarked for reference!
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There's a little bit of diva in all of us. Some just have a larger helping than others.
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