The Director

I. In the United States the Director is the central artistic person in the production of the play: the final arbiter of design, acting, and all other aspects of the chosen production. The director is often conceived as "the Captain of the Ship".

A. The Director does just what it sounds like- she gives direction. This can be looked at in four different ways:
1. The Director is a guide- telling people where and when to come on stage.
2. The director is an instructor- teaching actors and others how to do things
3. The Director explains things- tells the actors what things mean.
4. The Director inspires a group of collaborating artists toward creating the best production/performance they can deliver.

II. Director's have not always been around- but there were people who did some of the things the Director is now responsible for:

A. In ancient Greece (cir 500 B.C.) playwrights (i.e. Sophocles, Euripedes) were responsible for supervising rehearsals of their plays, but there were others that shared the responsibility:
1. Some say the first archetypical director was the Didaskolos . This person was considered a teacher of the actors and the chorus.
 
2. A wealthy citizen was assigned the task of hiring the professionals needed to stage the plays of the City Dionysius. This person was called the Choregus . The closest we have to this person is the Producer- the person responsible for the money used to produce the play. In modern times this person negotiates with professional organizations that deal with living authors or their agents in arranging for the licensing of plays and the salary of actors. Agencies such as Samuel French or Dramatists Play Service handle amateur and professional royalties.
 
B. From the ending of the medieval period until the time of Shakespeare, playwrights continued to be the primary person responsible for staging plays, even though the actors might often do as they wished or, as often was the case, were bound by staging traditions.
 
C. Later on (16th to early 19th Century) the Actor-Manager arranged who played parts, but very little of the modern director was present. Actor managers still exist in Europe and the U.S.
 
1. Actors were often members of Stock Companies (they actually owned a portion of the company).
 
2. These actors actually owned particular Stock Characters and reserved the right to portray those types of characters no matter the play or whether they were "right for the role". Often they were "stars"-- independent of any central artistic authority.
 
D. The first Modern Director is considered to be George II the Duke of Saxe-Meiningen
 
E. Andre' Antoine and Constantine Stanislavski were early converts of the idea of a central artistic authority
 
 
F. The early 20th Century introduced the work of Edward Gordon Craig (developer of the idea of the "Captain of the Ship"). He also developed and published a journal (The Mask) to disseminate his views. More about Craig can be found at the Harvard Theatre Collection.
 

III. Since about 1874 we have witnessed the era of the Modern Director:

A. There are 3 Main Types of "Modern Director"

1. The "Faithful Director "(Acolyte)
Director serves playwright
Transfers the script as literally as possible from page to stage
Retains time and place specified in script
Follow the playwright's staging prescriptions closely
 
2. The "Translator"
This Director's goal is to capture spirit of script.
She may depart from playwright's specifications!
Today this is the most common approach to directing a play.
This director usually identifies a metaphor, analogy, dominant theme, or set of conventions that will shape the production
 
3. The "Auteur"
Sees a script as raw material that he feels free to reshape as needed
Views the Director as the principal creative force behind the theatrical event.
At her most extreme, this director will eliminate the playwright altogether!
 
B. The Modern Director may have several assistants who:
Take the director's notes during rehearsals
Attend production meetings
Serve as liaison with designers
May coach actors or rehearse scenes with performers
 
C. The Stage Manager performs many of the duties described above, but has unique responsibilities of his own:
Compiles prompt book during rehearsal process, which becomes the blueprint for the performance.
Runs the show at each performance.
 

IV. Duties of the Modern Director

Lets take each of these in order of the three phases of the Director's work: The Preperatory Phase, The Implementing Phase and The Performance Phase.

The Preparatory Phase

A.. Selects the Script
 
2. Most permanent organizations present a season of several plays that will be performed during a specific time period.
     
    3. There are several Considerations that go into the creation of a Season of Plays:
    Does the company have a mandate to produce certain styles or genre on a regular basis?
    Does the company plan on offering a variety of periods and styles?
    What are the production requirements of each play?
    What will be the total cost in relation to organization's budget and projected income?
    What is the taste of the local audience?
    What is the probable box office appeal?
 
 
B. Chooses the Key collaborators
    1 The Director is usually concerned with all artistic aspects of production
     
    2. As she will work very closely with the various designers, she may have a desire to work with a particular person
     
    3. In some companies, the design and technical staff are already in place and the Director can be expected to work with them.

 

 
C. Conceptualizes the production
1. Decides upon interpretation of script and the production metaphor to shape staging.
 
2. The Script is starting point for most productions. Initial questions facing director include:
a. What is the basic story?
b. If the play is in a foreign language, what translation is best suited for this production?
c. How might the play's events and their arrangement affect a live audience?
d. Should portions of the script be cut?
e. What is the significance of the play's time and setting? Should these be altered?
3. In analyzing the script, the director may:
a. Read the play several times to become familiar with overall qualities
b. Note structural patterns
c. Divide the play into segments or units defined by entrances/exits or major changes in character motivation
d. Note emotional reactions or images inspired by script
e. Define the through line or spine of action that holds play together and determines its overall thrust
f. Study characters
g. Note scenic, costume, lighting requirements
4. Consult sources beyond script to:
a. Understand author's point of view
b. Explore the cultural environment and context
c. Read what critics and reviewers have written about the play and about previous productions
 
5. Director may distill his/her interpretation of the play into a production metaphor which is an organizational tool for the production team
 
 
D. Realizes the conception in sight and sound
1. The production's focus should be clear to all
 
2. The director must relate any specific demands to designers, such as:
a. Shape of set
b. Specific mood lighting
c. Garments with specific features
 
3. After initial meetings, designers must be allowed time to conceive their designs
 
4. Designs are then considered and various questions are explored:
a. Do the designs project the production metaphor adequately?
b. Do they fit the play's action, mood, theme, and style?
c. How do the lighting, costume, scenic, and sound designs complement each other?
d. Are the designs functional for staging purposes?
e. Can designs be achieved within budget, personnel, and time constraints?
 
5. Designs are approved and then executed
 
E. . Auditions and Casting the roles
1. Audition procedures vary widely:
a. Open call = allows anyone interested to audition (Although access is still often restricted by some criteria). This type of rehearsal is often called a "cattle call"
b. Casting Directors create small pool of likely candidates who are then auditioned by director, producer, playwright
c. PRE-casting means working with agents, or in a closed company, creating a season to fit the talents of particular actors
 
2. Audition Material:
a. Actors are asked frequently to perform 2 short, contrasting monologues unrelated to the play being cast
b. Actors are sometimes asked to study the script being cast and to read a passage from it
c. Actors may be asked to read unfamiliar material and to respond to instructions from director = cold readings

3. It is a truism that 90% of the Director's job is the casting of the play.

Implementing Phase

 
F. Rehearses the production
1. Types of Rehearsals
a. Table work usually devoted to reading and discussing the script, character history, thematic discussions
b. Blocking = establishing each performer's movements from place to place and each performer's bodily position
c. Working rehearsals devoted to deepening actors' understanding of lines and blocking
d. Run-throughs dedicated to ensemble playing and shaping the action for overall effect
e. Technical and Dress rehearsals integrates all elements of production

 

 
2. Staging
a. Rehearsal Space:
1. Usually a large room
2. The Ground Plan of set taped out onto floor; multiple sets indicated with various colors of tape
3. Temporary props and rehearsal costumes are used
 
b. Blocking = establishing each performer's movements from place to place and each performer's bodily position at each moment
 
c. Working with Stage Images : A Type of Visual composition Leading to:
    1. Creating beautiful stage pictures that form images that convey situation, emotional content, character relationships
    Each moment of performance = an image bearing a message
     
    2. The tools used to create the Stage Images:
    Position of performers on stage
    Height
    Stage areas
    Spatial relationship
    Contrast
    Visual focus
    Costume, lighting, scenery
 
3. Actor Coaching
    a. Directors supervise rehearsals, ideally working collaboratively with actors to give life to the play
     
    b. Throughout process, directors assess the work of the actor and make suggestions for improvement
     
    c. Directors who work effectively with actors are:
    Tactful
    Understanding
    Critics
    Teachers
    Friends
    Disciplinarians
    Sensitive listeners and observers
 
4 Structuring the dynamics: Voice and Movement
a. Voice and Speech: The Voice is the medium for speech, song, or nonverbal vocal sound
The Director's 4 main vocal concerns:
Dialogue should be audible and comprehensible
Vocal qualities should be appropriate to character
Inflection and volume should not only be appropriate to character, but also to situation and meaning
Tempo and rhythm should vary appropriately in accordance with changing dynamics of action
 
b. The Dominant tool to create a dramatic impression in performance is Movement
1. The Functions of movement:
To Emphasize by catching the eye and directing attention
To Characterize
To Clarify a given situation
To Build a scene to climax, provides contrast, establishes tempo
A particular way a character moves may be indicative of a particular dramatic type or style.

 

 

c. Pacing
1. The Director is like the conductor of a symphony
        2. The Director has to be able to look at the theatre piece objectively
     
 
5. Standing in for the audience
a. The Director is like the conductor of a symphony to the point that he can shape the pacing of a show to manipulate the audience experience.
 

b. The Director must anticipate the reaction of the audience. To the extent that the director and the audience share the same likes and dislikes, or to the extent the director can anticipate the future audience' taste, she can shape a performance for that particular audience.

     
     
7. Orchestrating the final rehearsals
a. Final rehearsals that "set" the show and incorporate technology. Those rehearsals are:
Technical rehearsals
Dress Rehearsals
Previews
 
b. Often, the Director will meet with the "house staff" to coordinate audience seating efforts.

 

G. Leads a disparate group of humans to a unified goal!

 

 

The Presenting Phase

When a production opens, the Director's job essentially ends. No longer will she be able to stop the proceedings and "fix" what ever is wrong. Starting on "opening night" the job involves:

A. A certain amount of Pacing About
B. Note taking
1. Even after the show opens there is a constant evolution of the experience and actor notes continue to be given.
2. "Corrective Rehearsals" are often necessary during extremely long runs when "odd business" creeps in or a new actor is to be incorporated into a role.
       

Whether the other artists that make up the "cooperative" that is a theatre company wish to admit it or not, the American Theatre is very much a "director's medium."