Directing Techniques: A Guide to Theatre Production PDF

§ This chapter will explore the role of the theater director including the history, and the director’s process. Sydney Theatre Company’s The Secret River. Directed by Neil Armfield Review Review the slides. Watch/listen Watch/listen to the narrated lecture of the slides (see next slide). Rea...

§ This chapter will explore the role of the theater director including the history, and the director’s process. Sydney Theatre Company’s The Secret River. Directed by Neil Armfield Review Review the slides. Watch/listen Watch/listen to the narrated lecture of the slides (see next slide). Read Read the assigned chapter. Take Take the reading quiz. Do Do the assignment found in the module. § Of all the collaborators who create live theater, the stage director’s contribution may be the least visible and least understood. § What do you think a theater director does? As "Captain," they are responsible for all artistic aspects of the production. THE DIRECTOR IS THE “CAPTAIN” OF THE COLLABORATIVE TEAM They provide a unified artistic vision of what the world of the production will be and communicates clearly and consistently with the other artists: actors, designers, etc. to keep the vision focused. The Director can be considered the author of the production. The Collaborate Director leads, coaches, encourages , and mentors, but trusts and respects the artistic processes of each of the teammates. Georg II, the Duke of SaxeMeiningen(1826-1914).Father of modern directing; theatrical director and designer who developed many of the basic principles of modern acting and stage design. He focused heavily on making every aspect of the production a true imitation of life itself. With historically accurate costumes, sets, and props, he emphasized realism. David Garrick was an English actor, playwright, theatre manager and producer who influenced nearly all aspects of theatrical practice throughout the 18th century, and was a pupil and friend of Dr Samuel Johnson. § Directing as a completely separate function is a relatively recent development in the history of theatre. § ) § Most important, create a stage picture § Mise-en-scène – historical exactness; setting the scene or setting the stage § Create the illusion of everyday life… § Mise-en-scène is the stage design and arrangement of actors in scenes for a theatre production, both in visual arts through storyboarding, visual theme, and cinematography, and in narrative storytelling through direction. § The term is also commonly used to refer to single scenes that are representative of a play. § Mise-en-scène has been called performance criticism's "grand undefined term." § Emergence of the modern theatre Director with the rise of Realism in the late Nineteenth Century. THE DEVELOPMENT OF THE MODERN DIRECTOR § In the late Nineteenth Century, Social changes blasted conventions and inspired big changes in art, including Theater. § The first great dramatists of this time were Norwegian Henrik Ibsen and Russian Anton Chekhov. § Konstantin Stanislavski put the actor’s truthfulness at the center of his theatrical practices. § He and other directors of realistic drama understood the importance of detail, specificity and the absence of false notes on the stage. § It is the primary function of the modern director to interpret the script and to develop an artistic vision or production concept. § The translator approach is probably the most common in today’s theatre. § “The director honors the spirit of the play as received but may depart from many of the specifics. Usually the original dialogue is left intact, but stage directions, the time and place of the action, and many other details may be altered. Productions using this approach are often based on a director’s strong vision of the play. In this way, the production finds its own unique style." § Analyzing and Interpreting the Play: § Early design meetings to discuss the play are needed. § All of the collaborators must engage in a close analysis of the script. § This discussion covers the play’s genre, mood and style. A PROCESS FOR DIRECTING § The Production Concept: § The concept is often articulated in terms of an overriding metaphor. § However the way the concept is expressed, it needs to be vivid, motivating and clear enough to put the whole team on the same page. § The concept statement should also communicate the director’s approach and determine the time and place of the action. A PROCESS FOR DIRECTING Working with Designers: § The designers explore the visual, aural, and spatial world of the play. § Fundamental elements: design – color, texture, line, shape, mass and rhythm. § Designers collaborate with each other throughout the rehearsal process. Casting: § A director has a strong image of the characters, but they have to be open to who auditions. § There are many audition processes depending on the production and the type of theatre. § An Open Call is often referred to as a “cattle call.” § Callbacks are auditions where the director invites particular actors to come back and read again for a role. § Cold readings are readings from the script named so because it is unlikely the actor has seen the text prior to auditioning. § Closed calls are where specific actors are invited to read. Exercise to learn directing. The basic elements of art are the "building blocks" used to create any visual art piece. The elements are color, form, line, shape, space, texture and value. Without them, it would be impossible for an artist to create art. Every artist, including theatre directors, whether they realize it or not, uses at least two or more of these elements in their artmaking. Rehearsals: § First cast meeting: designed to introduce the actors to each other, to the production staff, and to the script. § Table work: The cast sits at a table (most likely), reads the script aloud, and discusses aspects of the play with the director. § Blocking: is a term for the movement and placement of the actors on the stage. § Scene work is exploring the play in smaller units. § Stage pictures are bodies artfully arranged on the playing space to communicate ideas. § Mise-en-scene § Tableaus The director shapes: time, space and action. Clarifying intention and vision with each pass. A run-through is done once the blocking is roughed in and the actors are off-book (free from holding the script). REHEARSALS CONTINUED: A stumble- through is another word for the first run-through. Technical rehearsals are the period in which all to the technical elements – lights, sound, scene changes – are introduced and intergraded. Dress Rehearsals are performed in full costume with all of the technical elements as thought the audience is present. Previews are sometimes done by professional theatres before audiences with discounted tickets, before the official opening of the show. The Stage Manager: § Closest partner to the director. § Responsible for running all activities backstage. § Takes control running the show on opening night throughout the run. § Must be a great leader, a coach, a cheerleader, and be prepared to make tough decisions. § Must be an excellent communicator, know enough about each of the designer’s processes and know the acting process in and out. § Peter Brook (b. 1925): Peter Brook’s daring productions contributed significantly to the 20th century’s avant-garde stage. His reinterpretations of Shakespeare and such works as Marat/Sade (1964) and The Cherry Orchard (1981) contained penetrating insights into human nature and a playfulness that juxtaposed the grandiose and the banal. § Bio/Info clip: PETER BROOK: THE TIGHTROPE - Official Trailer § Interview clip about process: Peter Brook speaks about "Minimalism” § Bio & Interview Clip: Peter Brook on his work and himself § Julie Taymor (b. 1952): is an American director and writer of theater, opera and film. Since her stage adaptation of The Lion King debuted in 1997, 24 global productions have been seen by more than 100 million people in over 100 cities in 20 countries, on every continent except Antarctica, and its worldwide gross exceeds that of any entertainment title in box office history. Blends various cultural performance forms with high artistic values to deliver unique staged productions. § Example clip: A MIDSUMMER NIGHT'S DREAM Trailer | Festival 2014. § Carey Perloff (b. 1959) ): Carey Elizabeth Perloff is an American theater director, playwright, author, and educator. She was the artistic director of American Conservatory Theater in San Francisco from 1992 to June 2018. She is a vigorous proponent of unusual classical literature and a passionate advocate of new work and new theatrical forms. § Example clip: "A Thousand Splendid Suns" — director Carey Perloff introduces the play. Auteur/ High Concept Directing: § § § § § § Challenging conventional staging Non-linear; not driven by plot per se. Non traditional Casting – casting not according to the character description in the play Re-contextualizing productions of Shakespeare- changing location and time period Stamping a personal imprint on the material Example: Robert Wilson (b. 1941): In all his works he attaches great importance to our perception of time and to the weight of gestures, often repetitive in nature. With scant interest in psychological issues, Wilson creates characters that move to a rhythm, that rely more on music than text. § Example Clip: The acclaimed director takes on the role of undertaker in the Life and Death § § § § of Marina Abramović -- a funeral served three ways. Robert Wilson. Example Clip: Handel/Mozart: Der Messias staged by Robert Wilson Example with explanation by Robert Wilson: Robert Wilson: “LUTHER dancing with the gods” Example with explanation by Robert Wilson [and Phillip Glass]: Luminato 2012 presents Robert Wilson & Philip Glass's Einstein on the Beach. Example: Turandot | Nicola Luisotti & Robert Wilson | Teatro Real 2018 (DVD & Blu-ray trailer) § “The stage director employs a unique and complex set of skills. The most important is leadership. The director must be coach and cheerleader, but also must be prepared to make tough decisions. He or she must be an excellent communicator, know enough about each of the designers’ processes to communicate in their language, and know the acting process inside and out. He must also be an expert in theatre history and dramatic analysis. The director shoulders a huge responsibility for the success of his teammates and the experience of the audience. “