1. Chapter 5 The Director

2. Why the director? Because the product of the director's art is not directly visible, audible, or sensed, it is perhaps the most ambiguous and mysterious in the theatre. ROBERT COHEN

3. Greek διδάσκαλος (Didaskalos) Although the development of the director as an independent theatre artist has occurred in the past century, directing has been going on since theatre began. Greek – teacher Medeival – master Task was to pass along the accumulated wisdom and techniques of “correct” performance

4. This evolution can be divided into three phases. Teacher-directors Realistic directors Stylizing directors

5. Playwrights served as directors The French playwright, Actor and “director” Moliere

6. Actors served as directors David Garrick Edwin Booth Henry Irving English Actor-ManagerAmerican Actor-Manager English Actor-Manager 1717-17791833-18931838-1905

7. Teacher-directors They occupied the first phase, transmitted knowledge of the accumulated wisdom of the "correct" performance within a particular convention to others. Richard Burbage, The Globe Theatre Moliere and The Comedie Francaise

8. Realistic directors…...sought to organize and rehearse a company toward a complex and aesthetically comprehensive theatrical presentation that reflected the diversity and minutia of life. The Meiningen Players in Shakespeare’s Julius Caesar

9. The first Modern Director Georg II, Duke of Saxe-Meiningen 1826-1914

10. Plays were vigorously rehearsed and inspired other “new” directors They also opened the theatre to the myriad possibilities of psychological interpretation, thus making the individual crucial to the analysis and interpretation of plays and increasing the director's creative function substantially.

11. Andre Antoine in France “The Earth” at Theatre Antoine, 1900

12. Konstantin Stanislavski in Russia The Seagull at the Moscow Art Theatre - 1898

13. Directors who allied themselves with nonrealistic playwrights, however, soon began a third phase, that of the Stylizing directors who aim at the creation of originality, theatricality, and style. Their numbers are still growing.

14. Unrestrained by verisimilitude, such directors introduced a lyricism and symbolism, an expressive and abstract use of design, explosive theatricality, and intentionally contrived methods of acting that continue to affect drama and theatre profoundly.

15. Today, the answer to no question is self-evident, no style obligatory, and not interpretation definitive. The director has nearly limitless possibilities.

16. Functions of the Director When an independent producer is not involved, the director accepts responsibility for the financial support of the production as THE PRODUCER.

17. VISION Fundamentally, the director envisions the primary lines of the productions and provides the leadership to realize that vision. The steps necessary to do so divide into two phases.

18. In the preparatory phase (Before rehearsals begin) THE DIRECTOR... selects the play, formulates the concept for the production, selects designers, guides collaborators in designing the look and sound of the show, and casts the actors.

19. During the implementation phase much of the director's focus turns to the actors, as he or she stages the movement and positioning of actors and objects, coaches the actors toward effective performances, conducts the pacing of each section of the play, coordinates the designs with the acting and general staging in the final rehearsals, and gives the performance over to those that will present it.

20. Where do directors come from? Directors come to the craft of directing in a number of different ways. Mike Nichols was an actor and a comedian

21. Susan Stroman was a choreographer

22. David Mamet is a playwright

23. Directors entering the profession today have in most cases trained as directors in a conservatory or dramatic graduate program... The Julliard School, NYC

26. University of Washington School of Drama

28. Where they have developed...

29. a strong literary and visual imagination

30. a strength of intellectual conceptualization Spring Awakening, Eugene O’Neill Theatre, 2006

31. a sound knowledge of theatre history's developments, styles, and masterworks

32. familiarity with the potentials of technology, design, and theatrical space.

33. The Director’s Role Communicate a vision for the production

34. Collaborate with designers

35. Working with actors Casting Staging Rehearsing Coaching Pacing Laurie Metcalf and Joe Mantello Joe Mantello working on WICKED

36. Prepare for opening night... Promotions Tech rehearsals Dress Rehearsals

37. Notable Directors Georg II, Duke of Saxe-Meiningen

38. Konstantin Stanislavski The Lower Depths, 1904

39. Peter Brook RSC, A Midsummer Night’s Dream, 1970

40. Mike Nichols

41. Matthew Warchus Boeing, Boeing - 2008

42. God of Carnage - 2008

43. LaBete on Broadway 2010

44. Susan Stroman

45. CONTACT - 2000

46. The Producers 2001

47. Young Frankenstein - 2007

48. The Scottsboro Boys - 2010

49. Big Fish (2013)

50. Bullets Over Broadway (2014)

51. Julie Taymor The Magic Flute The Lion King

52. Joe Mantello The Santaland Diaries Wicked The Last Ship

53. Doug Hughes 2010 2005 2011 2008 2014

54. Speak the speech, I pray you...

55. Society of Directors and Choreographers First contract for this union was negotiated in 1962 for Bob Fosse to direct and choreograph LITTLE ME...