Basic blocking and stage direction
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=3083
Printed Date: 11/23/24 at 3:52pm
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Topic: Basic blocking and stage direction
Posted By: max_fischer
Subject: Basic blocking and stage direction
Date Posted: 3/29/08 at 10:40am
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I am directing my first full length play and gettting a little frustrated with my lack of directing skill. I am directing a comedy with a unit set on a proscenium stage that involves seven adult actors. At various times the entire cast is on stage, and the actors seem to end of in a line or sitting down for awkward amounts of time. I come from an acting background and some of my actors seem clueless when it comes to improving the blocking process which comes to me quite naturally. Basically they are afraid to move unless I say so. I understand this, but am getting frustrated. I realize I make the decisions, but am trying to be more collaborative during the rehearsal process. Any ideas? Does anyone have any books, articles, words of wisdom? thanks in advance. max |
Replies:
Posted By: Teach Me
Date Posted: 3/29/08 at 10:21pm
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I am not nearly as skilled as most participants here. I love this board and have learned tons, ordered many of the suggested books, visited the suggested websites, and wish I could apprentice under any number of these talented professionals. What I can do is offer this...blocking is everything...and one of my early theatre mentors, Ken Bradbury, drilled into my head that it is the director's job to plan the blocking - not always a collaborative process. He stated that theatre is like a picture book and it is the director's job to create the pictures. So, with each scene, you create the picture and give the actors movement and gestures that compliment their lines. You probably get this already...but I work primarily with middle school and high school students...once they 'get it,' you can ease up on the 'dictated' blocking and allow them more freedom (and for some they just naturally know what to do), but for the newbies, you may need to provide them with props (which tends to help with business), make sure they gesture a certain way with an important line, and definitely assist them in where to stand or where to move...and make sure they understand why:-) You may need to give more direction that you want...but you might have to anyway. I will look forward to others' input as well...GOOD LUCK!!! ------------- Teach Me |
Posted By: whitebat
Date Posted: 3/29/08 at 10:42pm
| As an actor, I'm probably one of those folks you're frustrated with... that's why I'm in the light booth! I recall being told that an arc or V makes a nicer stage picture than a line. I also recall a "game" where you have to move around the stage whenever you are not talking. By awkward amounts of time, do you mean too long, not long enough, or both? If one actor is "frozen" while another speaks, you could discuss what they are thinking about while the other actor talks, and how that would make them angry/concerned etc. enough to stand or resigned/bored/whatever to sit. Also, try having them do "silent movie" (maybe have the actors who are not in the scene watch) and see if what is going on is clear without the dialog. |
Posted By: Topper
Date Posted: 3/29/08 at 11:06pm
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I agree wholeheartedly with the "stage picture" idea. If books on directing are sometimes too esoteric, then study books on art. Look at classical paintings done by the European masters. See how they've placed their subjects (especially groups of people), varying them by height, foreground, background, sitting, standing, leaning, etc. etc.
Find the important moments in your script and structure a picture to highlight its impact. Place your actors to create the picture: who's dominant? Who's recessive? Who's drawn to the action? Who's repulsed by it? Do this at several points throughout each scene and it merely becomes a question of getting the actors to these positions during the preceding dialogue. You'll find the movements start to come more naturally as the actors realize they must get from "Point A" to "Point B" by a specific time -- just like a dance. Hmm, dance? Painting? Art, music, theater. It's remarkable how it's all intertwined. ------------- "None of us really grow up. All we ever do is learn how to behave in public." -- Keith Johnstone |
Posted By: Linda S
Date Posted: 3/30/08 at 9:38am
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I also agree wholeheartedly with the "stage picture" idea. I do what Topper does, only slightly differently. Take a look at the scene where they are all on the stage from beginning to end. Pick specific points where as Topper and Teach Me said you want the picture to change. Now the picture may change because 1 person moves or 7 people move. Take each performer and work them through the scene independently. Give then a reason for why they are going to move to change that picture. Then add them in one or two people at a time until scene is completely filled in. That way you can adjust as you go. You may have to run the scene a number of times, but in the end it will be so worth it. There is a pit fall. Becareful that you are not pulling focus from the main pont of the scene.
I also do this when I am working with large casts, but I have them in groups. I give names like "girls coming home from the movies" or "family going to the park". It works great to not have a sea of people standing in straight lines. The more work you do on this before you get to rehearsal and the faster it goes and the more fun you will have with it.
I also take all of responsibility of stage movement on myself, and I never tell the actors they are doing it wrong. I say, "I messed up that picture. Let's take another look at it an see if I can make you all look better."
Good luck. Have fun.
Linda
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Posted By: stgdirector4
Date Posted: 3/30/08 at 7:22pm
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"Thinking Like A Director" by Michael Bloom is a very good, practical book on stage directing. But if you've already started rehearsals, it's a bit much to digest and then apply as you direct. The other respondents are correct: you create the stage pictures with respect to composition and balance; you block the play. If you rely completely on the actors to find their own blocking, the process will very uneven at best.
Break the play down into natural "beats", or sub-scenes. Then create action to suit the beats. You will start to create a framework within which the play can exist. When your actors get a feel for how you are trying to lead them, you can then back off and allow them to contribute to the creative process. I hope this helps. Remember to convert your ideas into playable actions--this is what the audience sees. By the way, which play are you doing? |
Posted By: tristanrobin
Date Posted: 3/30/08 at 7:53pm
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Not exactly what you asked - but something that annoys the heck out of me in plays is unmotivated blocking which has obviously been used for "variety" ... whenever or where ever they move, make sure it's for a reason! Also, remember that standing, sitting, etc. can be as effective as crossing! Another easy trick is to have the person doing all the talking to face front, with the rest of the cast upstage. As the person in front moves, it forces the other actors to move either towards that person - or at the very least, follow the speaker with their eyes. It does create simple focus and forces simple blocking changes. Good luck. |
Posted By: SherrieAnne
Date Posted: 3/30/08 at 10:08pm
I'm following this discussion closely - thank you! I'm scheduled to direct my first show this fall/winter (first weekend in December), after three decades ON the stage. As an actor, I find that my PERSONAL preference is for a director who has a clear vision of what s/he wants the show to be, but allows the actors freedom to give their own input, & I tend to chafe under the sort of director who tells you to take three steps left & point, then step down & shrug. One of the best experiences I've ever had on stage was a production of AN INSPECTOR CALLS, which is an odd play, to say the least... The director gave us her "pictures" - "You start here, you end here - get there." It caused our cast to REALLY explore our characters & their relationships to one another, their backstory, their reasons. :::sigh::: But I'M directing GODSPELL, which is a whole other kettle of fish. I'm finding myself storyboarding each segment - which sort of sounds like what all y'all are talking about???------------- There's a little bit of diva in all of us. Some just have a larger helping than others. |
Posted By: Gaafa
Date Posted: 3/31/08 at 12:45am
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I have found that performers on stage will tend to gravitate, away from the punters, to upstage centre. Adding movement to the blocking, especially on a large stage. They are drawn to clump together or in line, like iron filings attracted by the flux of an invisible magnet.
Invariably they either upstage themselves &/or everyone else.
Which at times can become a bit of a Greek chorus in groups on PS & OP, allowing the centre stage free. For the main leads to do there triangular hing. With the most important moving USC to deliver lines, then moving DSL then DSR, to await another character to move around and be dominant USC. Which to me starts to look like riding a Carousel. { Of course on US stages they would move turn their heads to the right & move in an anti clock wise direction - Unlike here & Britain Carousel horse heads face to the left & move in a clockwise direction!}
The Picture as suggested is a great way to go. I normally have them close their eyes & even fold their arms, while giving them the concept picture & allows their imaginations to colour in the mise en scene. Which seems to work, especially with larger casts. then if I have to after asking them to input what they seen in their image, in a 'Talking Stick' moot.
From this I also am open to ideas & suggestions, even white boarding them, as they are brought up, to incorporate latter.
A segment of a play by T S Eliot the 'Cocktail Party' always keeps me on track to realise 'what we are about'!
"To approach the stranger
is to invite unexpected,
release a new force,
or let the genie out of the bottle
is to start a new train of events
beyond your control."
Which virtually is getting at to have an open mind & except creative accidents, because a closed mind cannot except anything.
As with what Max has posted the warm props may feel stifled & reluctant to move without instructions, so give them their heads to see the motivation of movement.
------------- 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: Linda S
Date Posted: 3/31/08 at 8:12am
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Joe, I love what you said. "...have an open mind & except creative accidents". I just directed a show where the character had to come in wearing a winter coat. I didn't see a reason for her take off the coat in the scene. Her character was only suppose to stay a minute. To make a long story short. During rehearsal my actress got a bit warmer then the rest of us and flung the coat off. It worked so well, I kept it in. It got a big laugh every night. I call that "change of life" blocking. I am always looking for those things that the actors do that really work that they may not be aware of. I am always a litle sad opening night, because I just love the process. Linda
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Posted By: max_fischer
Date Posted: 4/02/08 at 12:13am
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I appreciate all the kind words and encouragement. The day after I posted this I went to the local college library and checked out some books on directing. I had either lost my directing book from college or sold it. I did find some things that helped. First off, it was a relief to know that certain problems that I had encountered had been happened to others. That information alone reminded me that I was "human" and didn't have to be perfect the first time out. Secondly, I found a book that spoke to me called "The Directors Vision" by Louis E. Catron. It covers a lot of area but has two chapter just on blocking! There is also some advice on doing a table scene, which I have in this show, and some other interesting tidbits. I think the concept of the V at this point is probably the most simple and helpful. Realizing where the focus should be at any given point in a scene and then accenting that with blocking is something I am trying to implement. I also realize now what I should have been doing before rehearsals, but there is always next time! Someone asked what show I am directing. It is an original script called the "The Big Five-Oh" by a local playwright. Again thanks for all the input, I appreciate it very much. max |
Posted By: belle
Date Posted: 4/04/08 at 11:10am
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Sorry to be so late with this. While you are in the college library look for this video or see if you can get it through interlibrary loan.
BLOCKING A SCENE: Basic Staging with Actors |
Posted By: Firace
Date Posted: 5/21/08 at 11:21am
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hi all --
GREAT STUFF!! I have a question: I wrote a play that is basically two halfs...the first half is mostly a young teenage cast...after intermission, this cast is no longer necessary as the character transitions into adulthood. The 2nd half is all adults. what is the best way to have rehearsals...i.e first half first? then second half? then bring them all together? OR have them all at every rehearsal even though many will be standing around...what think?
THANKS!!!!!!!!
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Posted By: mary051756
Date Posted: 5/21/08 at 11:38am
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You could go either way, but my preference would be to have both "casts" attend some of the other's rehearsals so that they have not only a frame of reference from the script as to where their charcater came from /is going, but they also see how their other half is playing the role, so that if there are any idiosyncrasies they might be able to incorporate.
That said, I don't think they need to be at all of the rehearsals - maybe in the beginning to see how characters are being developed and then a little later on to see how they have further developed. ------------- “To be yourself in a world that is constantly trying to make you something else is the greatest accomplishment.” EMERSON |
Posted By: jayzehr
Date Posted: 5/21/08 at 12:59pm
It would be good to have some interaction ahead of time and to have both groups see each other's work. And everyone will be together once you start running the entire show in rehearsals. But, once again if you're talking about community theater and volunteer actors it would be respectful of other people's time to split up the earlier rehearsals. I'd have them on alternate nights. |