The Art of a Director

Dear All, I am intrested in thoughts and ideas on the role of the director in amatuer theatre: * what do they do (besides the obvious) ? * how do they bring the play to life (rehearsal techniques, blocking)? * what makes a good director ? * what makes a bad director ? * horror stories ? * do they bridge into production manager roles ? * are they an everyman ? * what is your method of direction ? Regards J

I think personal opinion will play a big part in this and hopefully you will get a range of good, intelligent replies. These are my thoughts...

* what do they do (besides the obvious) ?

They are the one's who have the overall vision, like a foreman on a building site, who coordinates all his resources (actors, crew, hardware) to make imagination become reality. They are the point where all aspects of a play meet - the writing, performance, set design and technical aspects. The Pivot Point if you like.

* how do they bring the play to life (rehearsal techniques, blocking)?

By co-ordinating resources negotiating between desire and reality. They provide their external POV to help map out, in both a real and metaphoric sense, the flow and movement of a production. What techniques they bring to this is often a matter of determining what is best for the script, cast members and the desired outcome combined.

For a script with a large cast, breaking down the acts into smaller bit sized chunks can help actors focus on specific elements, and these can be scheduled in such a way so that during the earlier period of rehearsal actors are not sitting around for too long waiting for their turn. On the other hand, a script with a few cast members and large blocks of dialogue may suffer from this approach.

As for things like blocking, well I like to take an 'organic' approach. Dependant on the script of course, there are often key moments where a specific blocking may be required with periods between which could be considered 'grey.' I think it is important that most blocking should feel natural and therefore (as a Director) I have worked with individual cast members to 'map' out movements while still allowing room for flexability, just in case things  'go-wrong.'

There are some "basic rules" which I always apply which include things like;

• never turn your back on the audience
• not blocking a fellow cast member
• and so forth - but every rule is made to be broken so,
• break a rule only when it needs to be broken.
  

* what makes a good director ?

Good communication and negotiation, strong leadership, a clear vision yet is flexible - everything in moderation

* what makes a bad director ?

Too much of one thing, not enough of another.

* horror stories ?

A few - I'll not go into details though.

* are they an everyman ?

A little knowledge about many if not all aspects helps, anything more than that is a bonus.

* what is your method of direction ?

Read all above... ;-)

Absit invidia (and DFT :nono:)

Jeff Watkins

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A few thoughts. “I am intrested in thoughts and ideas on the role of the director in amatuer theatre: what do they do (besides the obvious) ?” What is the obvious? Directing the play? I guess that a Director should be involved in every step of the production after all they have the vision and inspiration. This doesn’t mean they should actually do everything themselves e.g Directing the play, designing the set and costumes, designing the publicity, designing the lighting and sound etc etc etc. All of these things should have input from the Director and I guess overall approval but the Director shouldn’t do them themselves. ”how do they bring the play to life (rehearsal techniques, blocking)?” When I direct I tend to let the blocking grow organically from the set design and the natural impulses of the actors. I intervene when I see the possibility of great pictures and to create moments that allow actors to hold and yield focus or to highlight emotional moments. My main focus in rehearsals is to assist the actors to bring out the characters of the roles they are playing and to keep the play moving in the direction I want it to go. I definitely use my actors as part of the process and hopefully the end result is a collaborative one. “what makes a good director ?” Vision, inspiration, dedication to the play and an ability to maintain focus and carry the disparate group of people that is a cast right through to the opening night. A good Director must also be able to be the glue that holds the whole team together. “ what makes a bad director ?” A lack of the above. “ horror stories ?” I was invited to direct for a company who had seen my work directing strong political drama and was led to believe that all I was expected to do was actually direct the play and that the company would provide all the support I needed to get the play on. My trouble began at the auditions when almost no members of the company turned up. I cast the play and began rehearsals as the process continued and I saw no-one from the company I slowly began to realise that nothing was happening, enquiries and appeals for help produced nothing and I ended up designing and printing the posters, designing the set, doing the sound and many other tasks. It became much against my wish a one man band. Someone did finally emerge and help with costumes and they provided me with a props person who couldn’t lift anything but was actually pretty good other wise, but it was an experience I do not wish to repeat. ” do they bridge into production manager roles ?” The definition of a Production manager varies wildly from one to another amateur company and yes I think that occasionally the two roles blur along the edges. “ are they an everyman ?” I have met a number of Directors who know almost nothing outside the artistic side of Directing. I have met a number who can do almost every job involved in the Theatre.. I have met very good Directors who can’t act ad great Actors who can’t direct. So I guess the answer is “Yes and No” “ what is your method of direction ?” I’ve already answered that but will say that any Director must enter a production process with an in depth knowledge of the play and a certain view of where they are going. You must also stay focused on that vision whatever happens, but remember that other members of the team will be able to help you achieve that vision and you must listen to them. Is that all there is? Well if that's all there is my friend, then let's keep dancing. www.tonymoore.id.au