Chapter 10 – Image Maker: The Director The theatre of the future, if it is to hold us, will have to shake off . . . the belief that it is showing us “a real room with real people.” For the theatre’s role is to present life . . . through some kind of poetic vision, metaphor, image—the mirror held up as ’twere to nature. —Alan Schneider

Chapter Summary In collaboration with playwrights and other artists and assistants, directors interpret and shape performances as theatrical metaphors of our world.

Forerunners Concept of director evolved in 1860s Europe. Prior to that time, “staging” determined by actors, theatre managers, and/or playwrights: David Garrick (English actor-manager) First “modern” directors: Georg II, Duke of Saxe-Meiningen (Germany) André Antoine (France) Konstantin Stanislavski (Russia) Director: Understood all theatrical arts Shaped production into unified whole

Director as Artist Director collaborates with playwright, actors, designers, and technicians: Creates a carefully selected vision of life—a special mirror Theatre’s role from a director’s viewpoint: Presents “life not in its literal exactness but rather through some kind of poetic vision, metaphor, image” (Alan Schneider)

Director as Artist Director is controlling artist: Responsible for unifying production elements Three types of director: Dictator—treats actors and designers as “servants” Creative coordinator—accepts creative input Guide—provokes and stimulates cast and crew Director’s job is to discover the potential of a play: Search for the “spine” or “through-line”

Director as Artist: Peter Brook and The Mahabarata Cycle of three plays: The Game of Dice The Exile in the Forest The War Adapted from Sanskrit poem (400 BC) Brook makes minimal yet spectacular choices: Dramatic use of elements (fire, earth, water) Symbolic properties: Wooden wheel = Krishna’s chariot Billowing cloth = newborn children Battles conveyed via Eastern martial arts

Director as Artist: Peter Brook and The Mahabarata Brook’s intention not to make older texts appear modern or relevant Wants to connect the stage and the world around him A theatrical act cannot influence the political world. But theater allows us to open up to something beyond the daily horrors; it allows us to reinforce something positive inside each of us. —Peter Brook

Directors at Work Director’s responsibilities: Selecting or creating a script Deciding on interpretation and “look” Auditioning and casting actors for each role Working with crew to stage production Rehearsing the company Coordinating design and production elements into unified performance

Directors at Work Auditions and casting: Matching actor to role Design conferences: Prior to casting, director selects design team Confers with team to set production concept (c) Barry Slobin /PlayMakers Repertory Company Pauline Flanagan and Brendan O’Malley in The Beauty Queen of Leenane, Directed by Nagle Jackson

Directors at Work Ground plan: Defines shape and size of playing space

Directors at Work: Assistants Assistant director: Attends production meetings Coaches actors Rehearses special or problem scenes Stage manager: Compiles promptbook Prepares rehearsal schedule Records blocking, cues, etc. Voice (dialects) coach: Works with actors to ensure audibility and clarity of meaning

Directors at Work: Assistants Movement coach (fight coordinator): Works with actors for safety and expressive physical work Musicals: Musical director Choreographer Nonprofit theatre: Production dramaturg

Directors at Work: Production Dramaturg Gotthold Ephraim Lessing: Playwright Joined Hamburg National Theatre (1767) as house critic Advised on play selection and production Responsibilities of dramaturg: Select version of text to perform Prepare translation or adaptation Do background research on play, playwright Serve as critical “eye”

Staging: Approaches and Styles Elia Kazan: Wanted to be faithful to playwright’s intentions Mike Nichols: Sought controlling idea or event—truthful moment(s) that illuminate playwright’s meaning Anne Bogart: Bases approach on mystery and danger in text (c) Martine Franck/ Magnum Photos, Inc. Ariane Mnouchkine’s Staging of Richard II

Staging: Approaches and Styles Preplanned approach: Rehearsals used to “block” the play: Determine entrances, exits, where and when to stand, sit, etc. Collaborative approach: Director and actors work together to develop movement, gestures, character relationships, stage images, and line interpretations.

Director as Auteur: Julie Taymor Approach: Blend of Eastern and Western theatre Studied and worked in Paris, Eastern Europe, Japan, Indonesia Incorporates masks, puppets, dance, tai chi, singing Juan Darién: Features puppets, masks, movement, and a musical score sung in Latin and Spanish Production reflects cultural influences from Europe, Japan, and Indonesia

Director as Auteur: Martha Clarke Dance theatre: Trained as dancer at Juilliard School Chief creator (auteur) of her theatre pieces Works are expressions of her subconscious, not narrative: “If you watched a rehearsal of mine, you would see that nine-tenths of it is in such disarray. I flounder. . . . I’m foggy a lot of the time. And the actors and dancers have to search as much as I do.” The Garden of Earthly Delights: Interpretation of Hieronymus Bosch painting

Core Concepts Before the emergence of the director in the 19th century, leading actors, managers, and playwrights ran the theatres, dictated production elements, and took care of financial matters. A coordinating specialist—the director—became necessary with advancing technology and changing subject matter brought about by new currents in social, aesthetic, and political thought. Today’s audiences experience theatrical works through the director’s imagination and intellect, often to such a degree that the modern director has become almost as distinct a creative force as the playwright.