Directors and Stage Managers ADA 4 M March

Directors and Stage Managers ADA 4 M March 4, 2013

Directors • Became a prominent role in the late 1800 s – Previously, there were “actor-managers”: lead actors who took control of decisions about how to perform the play • Key figures in the shift from actor-managers to directing as a major independent role: Konstantin Stanislavsky, Peter Brook, Bertolt Brecht

The Modern Director • Decides on an interpretation of a script – Works with designers and production team to bring his artistic vision to life • Holds auditions and chooses the cast (actors) – Often in conjunction with other members of the production team • Makes blocking decisions and runs rehearsals – Creates focus, coaches actors to get desired pace and tone to the scenes

During a Scene… • Blocking – Where should actors enter and exit? Where should they stand how should they move? How should they interact with the set, props, and other characters? – Focus, levels, movement vs. stillness • “Cheat” forwards – face audience • Voice – How should the lines sound? Where should actors pause, speed up, speak softly, loudly, etc? Should a certain word be emphasized?

Compare • Watch 3 versions of the balcony scene from Romeo and Juliet. • Watch for: – Aesthetic style (design, stylistic choices, etc) – Blocking: what do actors do? – Voice: Accents? Speed? Tone? • Which scene is most interesting and effective? Why?

The Stage Manager • Term first used in the 1700 s, though some people had similar roles in Shakespeare’s time

The Stage Manager • Manages rehearsal administration – Creates rehearsal schedule, sets up space, organizes props (with ASMs), keeps in contact with actors – First to arrive, last to leave • Makes rehearsal notes – Records blocking decisions, use of props, costume changes, etc. in the script • “Calls” the show during performances – Gives “go” cues to lighting and sound technicians – Provides feedback for actors – Once the show opens, it belongs to the SM, not director!

The Prompt Book • A stage manager’s most precious possession! • Contains all blocking notes and technical cues in quick, easy shorthand Example: John Smith crosses to upstage right: JS x USR

Planning

Making Blocking Notes ROMEO He jests at scars that never felt a wound. JULIET appears above at a window But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun. … See, how she leans her cheek upon her hand! O, that I were a glove upon that hand, That I might touch that cheek! ROMEO turns to face DS ENTER JULIET, USR (on balcony), ROMEO to US But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun. … ROMEO speaks directly to audience ROMEO kneels, cups hands to cheek That I might touch that cheek! JULIET Ay me! JULIET to DSL corner of balcony ROMEO She speaks: O, speak again, bright angel! for thou art As glorious to this night, being o'er my head As is a winged messenger of heaven ROMEO leaps up, runs DS, addresses audience ROMEO turns US As glorious to this night, being o'er my head Long pause, EXIT ROMEO SL JULIET O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet. JULIET ENTER ROMEO SL Deny thy father and refuse thy name; JULIET leans over balcony And I'll no longer be a Capulet. ROMEO [Aside] Shall I hear more, or shall I speak at this? ROMEO paces SL to SR

The Prompt Book ROMEO BLOCKING LIGHTING He jests at scars that never felt a wound. ROMEO turns to face DS JULIET appears above at a window ENTER JULIET, USR (on balcony), ROMEO to US GO LX 7(fade onto balcony) But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun. … It is the east, and Juliet is the s. EO speaks directly to audience See, how she leans her cheek upon her hand! GO LX 8 (wash over stage) ROMEO kneels, cups hands to cheek O, that I were a glove upon that hand, That I might touch that cheek! SOUND Standby SQ 4 (chimes) GO SQ 4 , Standby SQ 5 (rain) JULIET Ay me! JULIET to DSL corner of balcony ROMEO She speaks: O, speak again, bright angel! for thou art As glorious to this night, being o'er my head As is a winged messenger of heaven ROMEO leaps up, runs DS, addresses audience (spot on stage) GO LX 10 ROMEO turns US As glorious to this night, being o'er my head Long pause, EXIT ROMEO SL GO LX 11 (fade stage) JULIET O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet. JULIET ENTER ROMEO SL (second “Romeo) GO LX 12 (follow spot on ROMEO) Deny thy father and refuse thy name; JULIET leans over balcony And I'll no longer be a Capulet. ROMEO [Aside] Shall I hear more, or shall I speak at this? ROMEO paces SL to SR GO LX 9 (spot on balcony, fade GO SQ 5 stage)

Directing Task • In groups of three, create a 5 -frame tableau of Little Red Riding Hood. Remember: Freeze, Face, Focus. Think about your blocking choices and how to create emphasis (levels, etc) – Frame 1: Red Riding Hood calls her grandmother to say she’s coming – Frame 2: The wolf eats grandmother while Red Riding Hood is on her way to the house – Frame 3: Red Riding Hood thinks the wolf is her grandmother – Frame 4: Red Riding Hood realizes it’s a wolf – Frame 5: The woodsman rescues Red Riding Hood and kills the wolf

Waiting for Godot • An absurdist play by Samuel Beckett (1953) • Vladimir and Estragon wait endlessly for someone named Godot, whom they barely know – Seemingly random discussions, often unsure of when they’re supposed to meet Godot and why • Pozzo has a slave named Lucky, whom he drags around by a rope around his neck – Act 1: Pozzo is self-important and eats with V&E – Act 2: Pozzo is blind, and does not remember meeting them the day before • Every day, Godot is not coming today but “surely tomorrow”; V&E say they will leave, but they don’t

Stage Directions US SR SL DS

Waiting for Godot Assignment Your script is divided into 3 sections. Decide who will direct and who will stage manage each section. Section Director Stage Manager 1 Person A Person C 2 Person B Person A 3 Person C Person B

Waiting for Godot Assignment 1. Decide who will play each character (do not switch characters throughout the scene) 2. Read through your lines 3 times as a group. Discuss what’s happening and what the scene is about.

Waiting for Godot Assignment 1) Read the script 2) The director for Part 1 will make decisions about how the scene is acted. Stage Manager will take notes on their script about who is doing what 3) Director for Part 2 makes blocking decisions, SM makes notes. 4) Director for Part 3 … 5) Practice each part of your scene 2 or 3 times after blocking is finished to make sure you know what you’re doing, then move on to next section 6) Practice the scene as a whole

Homework • Bring scene from Waiting for Godot (presentations will be next class)

Journal • Rank the following roles in order from most to least important: costume designer, set designer, stage manager, director. – Explain your choices • Which of the production team roles that we have studied would you most like to have? Why?