Directing tips
Printed From: Community Theater Green Room
Category: Producing Theater
Forum Name: Directing
Forum Discription: For questions about handling shows, actors, crew, board members, children ...or do we repeat ourselves?
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=2502
Printed Date: 11/23/24 at 1:53pm
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Topic: Directing tips
Posted By: mikejmurray
Subject: Directing tips
Date Posted: 7/04/07 at 11:43am
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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! |
Replies:
Posted By: Gaafa
Date Posted: 7/04/07 at 9:58pm
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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. ------------- 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} |
Posted By: jayzehr
Date Posted: 7/05/07 at 2:48am
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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. |
Posted By: B-M-D
Date Posted: 7/05/07 at 11:34am
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!  ------------- BD 
"Dying is easy, comedy is hard." |
Posted By: lessismore
Date Posted: 7/06/07 at 12:25pm
| 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. |
Posted By: biggertigger
Date Posted: 7/10/07 at 11:54pm
------------- The two greatest days in a theater persons life, the day you start a new show and the day the damn thing closes. |
Posted By: bbpchick
Date Posted: 7/17/07 at 6:12pm
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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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Posted By: bernster74
Date Posted: 8/10/07 at 2:44pm
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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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Posted By: Debflo
Date Posted: 8/10/07 at 3:32pm
| Bernie - These are all wonderful tips. A few I hadn't thought of before. I'll keep these for future projects! Thanks! |
Posted By: SherrieAnne
Date Posted: 9/09/07 at 3:28pm
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!  ------------- There's a little bit of diva in all of us. Some just have a larger helping than others. |
Posted By: cujimmy
Date Posted: 9/11/07 at 3:16pm
| Tempo is everything. You can have great actors, great script and great blocking but if the tempo isn't there, you'll be like paint drying. |
Posted By: drose
Date Posted: 9/11/07 at 8:48pm
| In my experience, organization is half the battle. Have a schedule and stick to it, start and end rehearsals on time. One of the most helpful things I do for myself is to lay out my expectations at the first rehearsal. I tell my cast that I'm excited to work with them (and I am) and this is what I expect from them...punctuality, respect for each other, hard work, etc. Then I tell them what they should expect from me...punctuality, honest, organization, respect etc. I'm a stickler for a few things and I make that clear. I also tell them that my job is to put on the best damn show that I can and that means that my choices and decisions for the show reflect that. I want them to be the best that they can be, because that means our show will be the best that it can be. I find that being up front about my expectations has solved a lot of problems. Ok. a little wordy, but I really believe in this. -d. |
Posted By: GoldCanyonLady
Date Posted: 9/12/07 at 10:06am
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Bernie that was great information. But I have a silly question. What is this about "notes"? I have never been in a play where I got notes, but I have read about it in the director's manuals and books. Why notes? Why not just talk with people personally? I will be beginning my third show as director so if it is good to give notes, I will change my ways. Barb ------------- Barb Hofmeister, MountainBrook Village Players, Gold Canyon, Arizona. |
Posted By: trutter
Date Posted: 9/12/07 at 5:23pm
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Notes are a way to give feedback to the entire cast at the same notes. I have always seen notes with everybody present, and then if there are any "ultra personal" ones, ie "get your act together!" those are done in private. Notes are sometimes tough. Especially if people try and add their two cents to your notes, but get them out and move on. The notes are usually not "scolding" but rather "remember this" or "try this." In my experience, the heaviest notes are done during tech week, and as somebody else mentioned, notes during the run of the show are usually "don't change that part again." Ive also had notes emailed to me, but I like the group atmosphere better, even though it may sound like you are saying people did things wrong. Some directors give all of their notes "as they happen" and some give notes after. I tend to stop the scene and change things the first few weeks, but later as we run the entire show, I'll let some things slide and give notes later. Personal choice I guess. ------------- ------ Troy A. Rutter Author, "Kids in the Biz: A Hollywood Handbook for Parents" http://www.kidsinthebiz.com/ - http://www.kidsinthebiz.com/ A Heinemann Drama Publication |
Posted By: GoldCanyonLady
Date Posted: 9/13/07 at 11:36am
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I'm still confused about the notes. Are they written? I mean if you hand them to the group when everyone is present why not just say what you would write? If you have something personal to say to someone, what is wrong with talking to that person privately rather than sending a note. Notes seem impersonal. Since I've never gotten these notes and never seen it done, (obviously I haven't had that much theater experience) I want to learn the correct way. Barb ------------- Barb Hofmeister, MountainBrook Village Players, Gold Canyon, Arizona. |
Posted By: bbpchick
Date Posted: 9/13/07 at 11:55am
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Notes are the notes you take during a rehersal. You refer to them as you are talking to the cast. They aren't notes you write out for the cast they are like the notes you would take during a lecture. Physically handing out the notes you have taken would be bad juju. At least it is in my case because I can barely read my note taking handwriting, the cast certainly won't be able to make it out hehe.
Here is the process of notes (as I use it and understand it):
Early in the rehersal process, I stop the scene as I see things I would like to change/improve/tweak. Once we are off book and running complete acts I don't interrupt. I take notes on what I see. At the end of rehersal, I gather everyone together, and then go over what I liked, what I didn't like, what I want changed etc... The notes are a memory tool for the director to remember everything you wanted to point out to the cast.
At least that is the way I use them. ------------- Kendra http://www.murphysblackbartplayer.com - www.murphysblackbartplayers.com You are NEVER too old to dress up! |
Posted By: bernster74
Date Posted: 9/13/07 at 11:58am
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"notes" is just a short way of saying "a small piece of verbal feedback on something you're doing in rehearsal" so yes, your intuition is correct, notes are given verbally after a rehearsal and is a time for you, the director, to talk to the cast as a whole and give them "verbal feedback" on what you saw.
So some examples might be:
"This particular scene is working really well, can the three of you work together to tighten the pacing and then it will be great."
"This is a key moment in the play and we need the audience to see the ceramic statue of George M. Cohan because it's a clue to the identity of the killer, so while you are doing your monologue, can you touch the statue?"
"Your subtext on that monologue is muddy - I am not sure what you want in this scene - can you clear up your objectives and try it again?"
"Speak louder or the audience won't hear you."
So notes can really be about anything and is an opportunity for the director to give feedback (both positive and room for improvement) to the cast - and it can be a bonding experience for both director and cast as it turns the play into "something we are all going through as a team or family."
If you have something really personal - I would recommend talking to that particular cast member individually. You're intention is never to embarrass a cast member purposefully.
And I agree with TRUTTER - when actors start to put their two cents in - this can make your notes forum awful. Cut this off at the pass every time. And be sure your actors follow one of the cardinal rules "actors do not give notes to other actors" - you're asking for trouble if you don't put a stop to that in a hurry.
I also have done the process of working a scene over and over and giving notes automatically early in the rehearsal process - and then as we get later, the actors need the continuity of run throughs, so that's a good reason to do notes after the run through.
The only time you should email notes is if rehearsal is getting late and you want to respect the actors time.
The only time you should give hand written notes are thank you notes on opening night - it's a nice touch.
Hope this helps!
Bernie
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Posted By: GoldCanyonLady
Date Posted: 9/14/07 at 10:02am
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Thanks, now I feel better. That is what I do. That wording, "giving notes" had me thinking I should be doing something different. I'm ok now. Barb ------------- Barb Hofmeister, MountainBrook Village Players, Gold Canyon, Arizona. |
Posted By: benhamtroll
Date Posted: 9/20/07 at 11:32am
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Great advice, all around. From my experience, the most important things are (some have been said already): 1. Cast the right people. In CT, you sometimes don't get a huge selection, but choose wisely. 2. BE ORGANIZED! Decide what you're doing when, and do it. Break things down into french scenes if you need to to make sure that only the people who need to be there are there. 3. Be aware of your vision, and follow through on it. Allow input from the actors, but after a certain point let them know that YOU are the director, and you have the final say. 4. Don't be afraid of pulling rank. Sometimes you simply have to step up and discipline someone. I actually kicked a major supporting character out of a show once. It sucks, but sometimes it has to be done to save the show. 5. Know the script well before you start rehearsals. Nothing frustrates actors more than a director who doesn't know what's going on. Anyway, that's miy $.02. |
Posted By: Gaafa
Date Posted: 9/21/07 at 11:58pm
 This something I came a guzza on, in the fist show I did at our new theatre group.Which I know & still feel it haunts & follows me. I blame the fact of being on my todd to get the grants & doing everthing else. Because I was recovering from the hiccups of strokes & escaping from intensive care,. I stupidly kept requesting & wishing for help! I know to be careful for what you wish for, but I bumbled on believing there was nothing wrong with me! i directed Man of La Mancha & A Chorus Line bacxk to back, after having a muliple bypass. I still had 12 years or so left on the warranty of the old dicky tickah anyway! So part the way thru the rehearsal process, I welcomed the assistance, That was the second major blue I madfe, with this production. After a short period, because my fire power was deminished, everytime I went to say anything, I was left with my gob open & became frustrated, because this other bod would give rapid fire over the top of me. eventualy each time I was wound up enough to spit the dummy, it just fell in front of me on the floor  .I;m normally vert placid & almost never raised vioce in anger anyway, so I shrunk away & gave up.[whimp!] 
Because on the times I stuck it to argue the piont. I ended
up getting my dacks in a twist & getting hit by the door on
storming out! I soon realised I didn't drive anymore & it was a surt I'd get lost on the wat home. Which was not fair on the cast with to many conflicts with head bottle washers sticking thier 'aw in. So I evaporated to being just part of the furniture. I agree it can happen so quickly & quite softly, if alow it too, without one realising. [off topic again - I knoe!] They atempted to get me to materalise & even bribe me with a Life Membership, which was nice & I acepted. {I know I'm cheap!  }However untill lately I thought it was another way of way of this bod saying thanks - Now buggah off! Which is what normally happens. I'm glad to say after a very sudden change to power that prevailed, which was Monty to happen anyway! I came to understand I was a complete yoyo & the atmosphere has done a 180. Things are getting back to what we should be about, so much so I'm all fired up again!  ------------- 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} |
Posted By: drose
Date Posted: 9/22/07 at 1:13am
| I like to pause and give notes as we go along (until full out, off book run thru's, then I only stop for train wrecks or something that I feel is imperative). Stopping at the time it happens is a great way to fix/work/set something. An hour or more later, at the end of rehearsal (or worse. the next day) it's hard for an actor to remember exact details of a move/expression/gesture/motivation/etc. Obviously I have my own caveats and exceptions, but this is generally how I operate. Although I do warn the cast early on, because many are not used to working this way and it can be uncomfortable at first. |
Posted By: biggertigger
Date Posted: 9/22/07 at 9:25pm
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I know it is hard to remember an hour later or even when I scribble down notes, "character A move down left further during your scene." I luckily have a great AD that will give me the pages so when I give notes I can refer back to what we are talking about. Just my little tip. ------------- The two greatest days in a theater persons life, the day you start a new show and the day the damn thing closes. |
Posted By: alwaysdrama
Date Posted: 9/25/07 at 11:16am
| Please help!! I need all possible feedback. I am the ED for my county and am trying to get a production off the ground, however I seem to be getting so many prima donas it isn't even funny. EX: last night at the first read through I asked them to come and sit around the table (where their characters will be) and just read through. I got so much slack from this! The "I will not move my chair again" type of thing! As E.D. it is my job to step up and take care of business when NO ONE else will. If I wasn't doing this for them, they wouldn't be doing what they love! This is my first time directing and I always have their respect....these are my friends too so maybe that's a problem taking direction from me? I have no clue but someone please help me get a handle on this!! I really appreciate anyones time here..... |
Posted By: Linda S
Date Posted: 9/25/07 at 1:17pm
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I quess I don' understand "sitting around the table where their characters will be."Unless you had them playing musical chairs every few minutes, I don't see the problem. But never-the-less for read thrus I put food (chips, grapes whatever) in the middle of the table and sit myself. Within minutes everyone is seated and we can start. It hasn't failed me yet. Since your read-thru is over. I hope. If you have good plan for rehearsals, and stick to it, everyone should come around. You said it yourself, they are there because they love it. Everyone wants to be successful, so they should want to rehearse.
Good luck.
Linda
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Posted By: alwaysdrama
Date Posted: 9/25/07 at 1:45pm
| Thanks for replying Linda. Nope , no musical chairs. Great idea on the food which I will do! My situation is really one that I feel must be explained in greater length as there are so many more factors involved. Maybe I can get your ear one day and explain everything involved. I appreciate your time and ideas very much! |
Posted By: Debflo
Date Posted: 9/25/07 at 2:47pm
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always drama,
I don't really understand the issue either. It sounds to me like your friends are having trouble taking direction from you. If it was me, I think I would hold a meeting and lay it all out there. Stating that you are there to help make them look good. They can chose to listen to you, and do as you say, or they can find another show to audition for. I know that seems harsh, but you have a lot of people to look out for as Director, and you don't have time to petty problems and attitude issues.
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Posted By: alwaysdrama
Date Posted: 9/25/07 at 2:55pm
| Deb, I think you have probably hit the nail on the head! I will do as you advise. Hate to be harsh, but sometimes I guess situations call for harshness. I just need to draw a line between friends/job maybe. this has been on my mind just all day trying to keep peace and get a production off the ground! Sound advise and I thank you. |
Posted By: lessismore
Date Posted: 9/25/07 at 10:24pm
| Something you could say that might make your actors/friends feel less threatened by having to take direction from you is that they need to trust you because you have the 'whole picture in your head'. Tell them that what you are asking them to do is part of a larger whole (sets, wardrobe, etc.) that you are creating and that they need to trust your vision. Good luck and stick to your guns! |
Posted By: alwaysdrama
Date Posted: 9/26/07 at 2:31pm
| I took your advise last night les and to my amazement it went beautifully! I can't tell you how much I appreciate everyone's help on this. Here's a question for anyone, are there any special things that the director can do to loosen up the actors before rehearsals? Simple games, tongue twisters? What do most do? |
Posted By: trutter
Date Posted: 9/26/07 at 3:26pm
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Rehearsal time is for rehearsal, not games in my book. We do warmups and things, but games during rehearsal would be disastrous for me. Plus people come to rehearse, it could have the opposite reaction and end in bad feelings since some people would view it as unnecessary. ------------- ------ Troy A. Rutter Author, "Kids in the Biz: A Hollywood Handbook for Parents" http://www.kidsinthebiz.com/ - http://www.kidsinthebiz.com/ A Heinemann Drama Publication |
Posted By: alwaysdrama
Date Posted: 9/26/07 at 3:30pm
| Maybe "games " was the wrong word to use. Warmups is much better. Any ideas on some? I would be grateful. |
Posted By: Debflo
Date Posted: 9/26/07 at 3:36pm
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I find during rehearsals, especially early, it is important to get some good strong character work in before we get to blocking. Usually this means a round table discussion on each character, how I view the character and how the actor views the character - and where to go with that information. It gives the actor a basis to start, and helps motivate a lot of the blocking to come.
As far as warm ups during rehearsal - a lot of directors I know don't do them. If anything I do some physical warm ups - stretches, facial work, things to get them ready and in the right "place" for work. Usually the rest of the traditional warm ups are reserved for performances. Thats when we get into the "zip, zap, zop" or "bananas" or other energizing warm ups.
I hope that helps!
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Posted By: alwaysdrama
Date Posted: 9/26/07 at 3:42pm
| It truly does Deb and thank you. This is a great board! |
Posted By: gaftpres
Date Posted: 11/14/07 at 4:04pm
 I agree wholeheartedly with Bernie and use the same tips for directing. I think one of the most important things to remember is respect, treat an actor with the same respect you expect them to give you and all will go well. The only problem I have experienced that drove me crazy as a director is: when a director is an actor in your performance and butts in while you are giving verbal direction. Oh boy, it wasn't pleasant, but I let her continue, thanked her politely then, after the rehearsal I spoke to them privately, as to not embarrass them in front of the others. There is now a silent understanding/respect with this person when I direct and she is onstage and when she directs and I am onstage. Great tips though Bernie! ------------- Old volunteers never die, they just get recycled! |