1. Directors and Stage Managers
ADA4M
March 4, 2013

2. Directors Became a prominent role in the late 1800s
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

3. 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

4. During a Scene… Blocking Voice
Where should actors enter and exit? Where should they stand and 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?

5. 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?

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

7. 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!

8. 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

9. Planning

10. 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! JULIET Ay me! 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 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. [Aside] Shall I hear more, or shall I speak at this?
ROMEO
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
JULIET to DSL corner of balcony
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
ENTER ROMEO SL
Deny thy father and refuse thy name;
JULIET leans over balcony
And I'll no longer be a Capulet.
ROMEO paces SL to SR

11. The Prompt Book
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! JULIET Ay me! 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 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. [Aside] Shall I hear more, or shall I speak at this?
BLOCKING
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 sEO speaks directly to audience
ROMEO kneels, cups hands to cheek
That I might touch that cheek!
JULIET
JULIET to DSL corner of balcony
ROMEO
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
ENTER ROMEO SL (second “Romeo)
Deny thy father and refuse thy name;
JULIET leans over balcony
And I'll no longer be a Capulet.
ROMEO paces SL to SR
LIGHTING
GO LX7(fade onto balcony)
GO LX8 (wash over stage)
GO LX9 (spot on balcony, fade stage)
GO LX10 (spot on stage)
GO LX11 (fade stage)
GO LX12 (follow spot on ROMEO)
SOUND
Standby SQ4 (chimes)
GO SQ4 ,
Standby SQ5 (rain)
GO SQ5

12. 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

13. 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

14. Stage Directions US
SR SL DS

15. 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 3

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

17. Waiting for Godot Assignment
Read the script
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
Director for Part 2 makes blocking decisions, SM makes notes.
Director for Part 3 …
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
Practice the scene as a whole

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

19. 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?