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BY LINDSAY PRICE

THE DIRECTOR’S

H A N D B O O KStudent

THE STUDENT DIRECTOR’S HANDBOOK

© Lindsay Price 2017 theatrefolk.com | i

TABLE OF CONTENTS

1. Introduction ...............................................................1

2. Where Do I Start? ......................................................2

3. Plays and Publishers ................................................10

4. Script Analysis .........................................................13

5. Auditions .................................................................17

6. Rehearsal Planning ..................................................24

7. Blocking ...................................................................29

8. Giving Feedback .....................................................31

© Lindsay Price 2017 theatrefolk.com | 1


INTRODUCTION

Many senior drama classes include a student directing project. Some programs have mixed levels with actors and directors combined. Some schools are lucky enough to have a class specifically about directing.

But it’s one thing to say “I want to direct a play” and another thing to figure out the necessary steps that will take you all the way from choosing a play to putting on a production. Being a director is a much different experience from being an actor – you have to make the decisions. You’re the boss. And if you’re directing a class project, that means you’re going to have to be the boss over your friends and classmates. Not an easy task.

● How do you choose, cast, and rehearse a play so that the experience is a good one for all involved?

● How do you circumvent the problems that can arise while directing friends?

● How do you organize rehearsals so you have an answer when your actors look at you and say “What do we do now?”

The Student Director’s Handbook will ease your way through the process by addressing all of these questions and many more. To take your show all the way to opening night, start by identifying your specific type of leadership role. Fill out the Vision Sheet that’s included in this handbook. Hold auditions. And prepare a rehearsal plan (see the Rehearsal Planning section in this handbook, which includes a couple of templates to help you).



WHERE DO I START?

This section looks at what is involved in the directing process before you even get to auditions. For the student director, this means starting at square one: What does a director do? What kind of leader will you be in rehearsal? What are the steps in directing a play?

WHAT IS A DIRECTOR? Complete the What Is a Director? Pre-Knowledge Sheet (included in this handbook). Write down your definition of a director and what might make you a good director.

PREPARING TO DIRECT YOUR PEERS. A director is a boss. That can be difficult when you’re directing your peers. What kind of leader will you be in rehearsal?

THE STEPS IN DIRECTING A PLAY. What are the steps in the process? Identify them in order. If there are other directors in your class, discuss how each of you outlined the steps. What are the similarities and differences? Would you change your order now? Are there steps missing? In your opinion, which is the most important step?


THE STUDENT DIRECTOR’S HANDBOOK WHERE DO I START?

WHAT IS A DIRECTOR? PRE-KNOWLEDGE SHEET

Respond to each question from your point of view.

1. What does a director do?

2. What makes a good director?

3. What makes (or would make) you a good director?

4. What type of play do you want to direct? Why?


5. What is your goal for your directing project?

6. What are you looking forward to about your directing project?

7. What’s one challenge you’re looking to address?



PREPARING TO DIRECT YOUR PEERS

I recently spoke with a student director and her biggest fear was directing her friends. “How do I tell them what to do?”

WHAT IS A DIRECTOR?● Someone who leads a group.

● A person chosen to be in control.

● A person responsible for the interpretation of a play.

● A supervisor of the action onstage and the direction of the production offstage.

What all these definitions have in common is that a director is a form of boss. This can be difficult for the student director: Who wants to be the boss of their friends? How will a group take a director seriously when they were fooling around at lunch five minutes ago?

This can lead to one of two disastrous situations:

● The lackadaisical director who doesn’t lead their actors, letting them take control.

● The dictatorial director who overstates their control, demanding that everything is done their way without exception.

The relationships within a production and the tone of those relationships can make or break a rehearsal process. The process is as much about directing people as it is about blocking or character development. The play will suffer if a director fails to communicate or set the right tone.

This is especially true for those undertaking the delicate balancing act of being friends with their actors at the same time as leading them.

The key to success is to strive to be a leader. Think of the cast as a community. The community is going to function best when there is someone leading the way.



REFLECTION

1. Reflect on the following statement in terms of being a director: The process is as much about directing people as it is about blocking or character development.

2. What are the qualities of a good leader?

3. What leadership examples do you have in your life?

4. Are you a good leader? Why or why not? If you said “why not” how can you improve?



THE LEADERSHIP ROLE

How do you get your actors to take you seriously?

A GOOD LEADER NEEDS THE FOLLOWING SKILLS:Good Communication: No one can see inside your head. Therefore, never assume actors know what you’re thinking. If you have a specific vision for the play, tell your actors what it is. Tell them when they’re doing a good job. If there’s a disruption, talk about it. It’s not easy to give feedback to a friend, but it’s an important skill to learn.

Confidence: Sometimes you have to fake this. A leader must take charge. It’s not about being bossy. It’s about leading the way. You will motivate your actors to work hard for you by being a strong leader. Be decisive. Don’t apologize when you critique an actor or when you change your mind. Make firm decisions. Don’t worry if it’s the wrong decision. Rehearsal is a place where mistakes are not only okay, they’re encouraged.

Positive Interaction: You set the tone for your actors’ behaviour. If you’re sluggish, your actors will match your tone. If you’re energetic and committed, your actors will mirror that. If your actors are lifeless, it’s your job to counter that attitude. It’s your job to inspire and encourage.

You don’t have to jump up and down like a cheerleader or pretend to be happy all the time. Positive interaction does not mean manic joy. But the work won’t get done if you let a lifeless tone fester.

Collaboration: A cast is a community and, as such, needs a leader. But it also mean that you need input from your actors on how the community (cast) functions. A dictator-director will shut down any feedback. A friend-director will make any change the community asks for, which can lead to chaos. A leader will collaborate with their actors. A leader can work with others’ ideas, know when they will work for the good of the community, and be able to turn an idea down constructively. The most effective way to assess ideas is through a well-defined vision, which we’ll discuss shortly.

Organization: Have a plan for every rehearsal. It’s not necessary to stick to the plan, but never walk into a rehearsal without one. If you’ve just started rehearsal, you can lose control quickly if you start asking the cast: “What do you want to do?”



LEADERSHIP SHEET

How do you rank yourself as a leader?

Rank yourself on the skills of a good leader. Check one option for each skill.

Good Communication

I’m very good I’m good I need to work on I need help

Confidence


Positive Interaction


Collaboration


Organization


What are three steps you can take to improve the areas you think you’re weak in?



WHAT ARE THE STEPS OF DIRECTING A PLAY?

Put the following steps in order, with “1” as the first step.

Choose a playDress rehearsalCast the showSecure rightsTech rehearsalsContact the publisherOpening nightRead the play analyticallyAuditionBlock and rehearseCreate a vision

DiscussionIf there are other directors in your class, discuss how each of you outlined the steps. What are the similarities and differences? Would you change your order now? Are there steps missing? In your opinion, which is the most important step?




PLAYS AND PUBLISHERS

A play there is, my lord, some ten words long,Which is as brief as I have known a play;But by ten words, my lord, it is too long. A Midsummer Night’s Dream V, i

WHERE DO I START?After you’ve said “I want to direct a play” what comes next? There is quite a lot to consider before you even get to the audition stage:

● How do you find a play?

● Is there a budget for royalties?

● How do you find out how much a play costs to produce?

● How do you approach a publisher?

CHOOSING A SCRIPTHow do I choose a script to direct?

Your first task is to choose a play. That means reading scripts. Hopefully your teacher will have a library of scripts you can peruse. Also, a number of companies (including ours at www.theatrefolk.com) allow you to read free sample pages from their scripts online. Avoid choosing a play based solely on the description. It’s hard to know what a play is like just from a couple of lines of text. Don’t end up with a play you don’t like because of a misstep in the choosing process.

There are thousands and thousands of plays out there. Set the parameters of your search to avoid being overwhelmed. Perhaps your teacher already has some parameters in place: discuss the criteria for your project with your teacher. For example, If your cast size is limited to four, don’t look at scripts with casts of ten. If your royalty budget is $50 a performance, there’s no point reading plays that are $70 a performance.

SET THE PARAMETERS OF YOUR SEARCHIdentify the following for your school and situation:

● Size of cast

● Length of play

● Set pieces available

● Props and costumes available

● Budget for royalties


Once you have the parameters set, read plays with a director’s eye. You’re not looking for plays you want to act in. You’re looking for plays you can visualize. What does that mean?

VISUALIZATIONThe director takes the words on the page and makes them three-dimensional. The director tells a story visually – by creating pictures and by creating action. If you can visualize a play as you’re reading it, if you can see moments on a stage in your head, that’s a good sign. When you read a play, what do you see? What do you visualize?

RESEARCHING THE COSTSWhen choosing a play, you need to do some research on the costs of producing it. Part of your selection process should involve gathering that information.

What are the basic costs of producing this play?● How much does it cost to buy scripts for your cast?

● Are there only hard copies available or can you purchase a photocopy license?

● What are the royalties? Are there different royalties for class projects?

Most publishers post this information online. If your teacher allocated you a budget ahead of time, make sure that the play you want to produce fits within that budget. Otherwise, you may have to choose another play.

APPROACHING A PUBLISHERYou’re going to have to approach a publisher to obtain scripts and royalty rights. This is true even if your audience is non-paying. This should be your job, not your teacher’s. Here is how not to approach a publisher:

I WANT TO DIRECT A PLAY, THX!!!!!!!

This approach is not the right one either:

Hi! I’m doing this play as part of my senior director project and I need some scripts and I’m doing the show once. Is that okay?????

You may feel you’re just being friendly. This may be the way you communicate with your friends. But when you’re assuming the role of the director, you want to be taken seriously. Treat this situation as if you were really producing the play.

THE STUDENT DIRECTOR’S HANDBOOK PLAYS AND PUBLISHERS


FIVE STEPS TO SECURING SCRIPTS AND RIGHTS● Have all your information for the play at hand.

○ What is the title?

○ How many scripts do you need? Or are you getting a photocopy license?

○ How many performances are you giving?

○ What are the dates of the performances?

○ What is the size of your theatre?

● Know the procedure.

○ You may have to register with a company before you can place an order. You may have to fax them information from your school. Check with the publisher well in advance about their ordering process to avoid disappointment.

● Apply in the right spot.

○ You’re going to be applying for amateur or nonprofessional rights. Make sure you get the right application.

● Know your billing info.

○ Know the name of your school and your teacher’s full name.

○ Know the school’s address and phone/fax/email.

○ Know the method of payment and have the details available.

● Be sensitive to time.

○ Some publishers take longer than others to approve performances. Do not frantically email a publisher the day before your rehearsals start. Be aware that you may not hear back from a publisher right away, and be aware that things take time to come through the mail. Treat the process professionally.

PLAY PROPOSAL SHEETWhen you’ve chosen a script and you have gathered all the information about costs, it’s time to present the play to your teacher. Fill out a Play Proposal Sheet (included in this handbook). It is a summary of your vision, your groundwork, and should demonstrate how your chosen play fits the established parameters. This information is gathered as you begin to analyze your piece with a director’s eye.

THE STUDENT DIRECTOR’S HANDBOOK PLAYS AND PUBLISHERS



SCRIPT ANALYSIS

VISIONOnce you’ve picked a play that you can visualize, your next step is to read it analytically. Because one of the first things you’ll have to identify is your vision for the play.

A director must have a specific vision for their play. What does that mean? In theatrical terms, a vision is a concept, an interpretation. The vision is going to shape the look and feel of the play. The vision is going to affect how the audience responds to the play. It is what makes your take on the play unique.

HOW DO I DEFINE MY VISION?Determine the main themes of the play, your point of view on those themes, and how will you visualize your point of view. Use the included Vision Sheet and use the questions to give your vision focus.

WHY DO I NEED A VISION?Knowing your vision is how you will make every aspect of the production come to life. Your vision joins everyone together. It will guide your choices as you discuss the play with your actors and direct their action. If you’re lucky enough to have designers, your vision will guide their choices as well. Every decision, every question, every element in your play (e.g. costumes, makeup, props) can be selected through the lens of your vision. What is your vision for the play?

EXERCISEWatch three movies by well-known directors with varying styles: Steven Spielberg, Tim Burton, and Alfred Hitchcock, for example. Watch the movie with a director’s eye. What is the director’s vision? What is the theme of the movie, what is the director’s point of view, and how have those been visualized? Compare and contrast the three movie directors.

The most important question to answer is this: Why you want to direct the play? What interests you? What (beyond getting a good grade) makes you want to present this particular play to an audience? Be specific.


VISION SHEET

Define the vision for your play.

DIRECTOR: ___________________________ PLAY:________________________Answer the following questions:

THEME1. What is the main theme of your play?2. What are your thoughts on the theme? Make a bullet point list. 3. What is your interpretation of the theme? Write a brief paragraph. 4. What research will you do to back up your interpretation? Write a brief

paragraph. 5. How will the main character illuminate your interpretation of the theme?

6. What is the dominant emotion of your interpretation? Will it change from the beginning to the end of the play?

VISUAL1. How will you visualize the theme? Write a brief paragraph. 2. What images best represent your play? Pick three pictures. 3. What colours best represent your play? Pick three colours. 4. What textures best represent your play? Pick three textures. 5. What shapes best represent your play? Pick three shapes.

ORAL1. What music best represents your play? Pick three pieces of music. 2. What sounds best represent your play? Pick three sounds. 3. What sound best represents the dominant emotion of your interpretation

at the beginning of the play? At the end of the play?

AUDIENCE

1. What do you want the audience to remember of your interpretation?

THE STUDENT DIRECTOR’S HANDBOOK SCRIPT ANALYSIS


PLAY PROPOSAL SHEET

Proposed By:Contact Info:Play:Author:Publisher:Royalties:Script Costs:Cast: (men/women)Rehearsal Timeline:

Brief description of play:

Vision for play (include thoughts on costume and set):

Is there anything unique or unusual needed for the play?

Why are you interested in directing this play?



SCRIPT ANALYSIS PART TWO

Once you have a vision for your script and you’ve got your approval from your teacher to go ahead and direct the show, there’s still more script analysis to be done. You need to prepare character analysis from the director’s point of view, and you need do some preparatory scene analysis.

CHARACTER ANALYSIS PREPDirectors must know the characters inside and out. That allows you to enter into discussion with your actors about their characters – it’s not about having to railroad your actors into a specific interpretation. That being said, though, the director must also be prepared to question an actor’s choices, especially if those choices are counter to your vision.

Never criticize an actor for making a character choice, even if you don’t agree with it. But you can question an actor and ask them to clarify – and you can reiterate for them the vision for the overall piece.

Part of an actor’s character analysis preparation is defining their character’s wants and the obstacles that are in the way of getting what they want. You too should define wants and obstacles for the characters. Again, this is all about having discussions rather than making decisions for your actors.

EXERCISE: • Write down facts and assumptions about each character. What does the playwright tell

you? What can you assume based on what the character says and does?

• Write down one emotion word for each character for the beginning of the play and one word for the end of the play. How does each character’s emotional state change?

• Write down a shape and colour for each character. This may help you when staging the character.

SCENE ANALYSIS PREPDirectors must know the play inside and out. This is not to create a rigid blocking for your staging. By knowing the play inside and out, the director can stand on solid ground when communicating their vision. The play has to support the vision and the vision has to support the play.

EXERCISE: • Write down the main theme for the play and then break it down for each scene. What is

each scene trying to communicate?

• Write down the main conflict for the play and then break it down for each scene. What are the obstacles in each scene? How do the characters overcome them?

• What is the climax of the play?




AUDITIONS

If you’ve acted in a play or musical, you’ve been through auditions. But what is it like to be on the other side of the table?

● What are the different types of auditions?● How do you prepare for auditions?● How should an actor behave during auditions?● How to deal with complaints about your casting?

Casting is an important part of the directing process. It’s like finding the right puzzle pieces to create the best picture possible. If you cast wisely, your puzzle will fit together with ease.

But a play is not a static picture; it is a three-dimensional world. And to that end, as a director, you not only have to think about actors fitting roles, but how actors fit together. The cast of a production, be it a Broadway musical or a student-directed one-act play, is a community. And a community doesn’t necessarily run on talent. That might seem like a strange concept – shouldn’t I fill the stage with the most talented actors? Isn’t talent the first thing a director looks for?

Talent is great, and there’s nothing more engaging than a talented actor onstage. But that’s just one piece of an efficient and effective community, or an efficient and effective rehearsal process.

You want to consider people who work well together, people who work hard, people who understand they are moving toward a final goal, people who offer ideas. The job of the director is to find actors who are going to build a play. What if your talented actor doesn’t work well with others? How will that affect rehearsals and the final product?

Cast well and your rehearsal period will run smoothly, making your job as director easier. Cast poorly and it will be an uphill battle all the way.

Good casting hinges on the audition – What you do to prepare for the audition, how you conduct yourself on the day of the audition, and how you handle the aftermath of the audition.


PREPARING FOR AUDITIONS

What to do before audition day

You’ve chosen your play. The next step is holding auditions. But there is some preparation to take care of before that day.

AUDITION PREPARATIONClarify what you’re looking for during auditions.

The main goal of the audition is to match actors to specific parts. List the important traits of each character and make note of any special skills needed to portray those characters. You’ll want to look for these traits and skills in your actors.

Don’t get bogged down with appearance. Don’t set your sights on a tall long-haired brunette to play Juliet and dismiss a fantastic short redhead on audition day. What you’re looking for is emotional traits. If you’re casting for Juliet, you’ll want an actor who will shine in the mad scene, who can play an emotional breakdown.

AUDITION INFORMATION SHEETCreate an information sheet for actors, in hard copy, or on a website or Facebook page. Lay out the specifics so everyone know what’s involved. You don’t want any surprises. There’s nothing worse that finding the perfect actor only to learn they’re on vacation during tech week.

WHAT DETAILS DO YOU NEED TO MAKE AVAILABLE FOR YOUR ACTORS?

Part One: The Play and Characters● What is the play about? Include a short synopsis.● What’s the genre? Is the play comedy, drama, absurdism?● Who are the characters? Include a character breakdown (male/female

roles, gender, age).● Are copies of the script available? Will actors be able to read the play

before the audition?

THE STUDENT DIRECTOR’S HANDBOOK AUDITIONS


Part Two: Actor Audition Prep● What should actors prepare (if anything)?● What type of audition is it?● When and where is the audition?● Is there a signup sheet?● Will there be callbacks?

Part Three: Rehearsals and Performance● When and where are rehearsals?● Which rehearsals are mandatory?● What are the performance dates?

Finally, let everyone know when and where the cast list will be posted. That’s the detail everyone wants to know.

AUDITION DAY SHEETCreate an audition day sheet for actors to fill out when they arrive at the audition. You can use the provided Audition Day Sheet included in this handbook as a template.

This will provide you with contact and availability information as well as some additional details. What other roles have they performed? Is this their first show? Is there a particular part they are interested in? Is there a part they don’t want to play?

This is an interesting question: If you want an actor for a specific role but they are dead set against it, is there any point in casting them at all? Here’s another: If there is a really talented actor but their availability to rehearse is next to nil, how will that affect your rehearsal process?

REFLECTION EXERCISEReflect on the most ideal outcome of your audition process. What would make the day successful? Secondly, reflect on the possibilities of a bad audition day. Visualize and write down the worst possible outcome. What can you do to problem solve in this situation?



AUDITION DAY SHEET

Name: Age:Email: Phone:Parent Name: Phone:

List of previous roles/shows:

Roles you’d like to be considered for:

Roles you would not like to be considered for:

Conflicts during the week:

Conflicts on the weekend:

If not cast, would you be willing to help out backstage? If so, what would you like to do?



TYPES OF AUDITIONSWhat type of audition will best fit your play?While the most common audition type is the prepared monologue, it’s not the only one. It’s not even necessarily the best one. The monologue audition only shows how well an actor prepares a monologue, which may or not be helpful to your final product.

WHAT ARE THE DIFFERENT TYPES OF AUDITIONS?Prepared Audition

• Actors prepare and memorize a monologue no more than two minutes long. Provide a signup sheet to schedule actors for specific times. It’s appropriate to ask the actor to re-peat the monologue at the audition, with a specific direction (e.g. try the monologue as if the character is insane). The goal of this audition is to see how actors prepare, if they prepare an appropriate monologue, and if they can take direction.

Cold Reading• On the day of the audition, actors are given scenes from the play to read and present.

Schedule actors to audition in groups. Actors may read more than one scene within their audition time. The goal of this audition is to see how actors work together when they are thrown into a situation and how they instinctually react to your play when they have had no opportunity to prepare.

Rehearsed Scenes• All actors who are to audition arrive at a designated time. The director runs a warmup.

They are then given scenes from the play and time to rehearse their scenes before pre-senting. The goal of this audition is to give actors a chance to prepare so you can see what they bring to the scene. Do they have ideas, or do they just read the lines? How do the actors work together when they have a chance to rehearse?

Improv and Group Exercises• All actors who are to audition arrive at a designated time. The director runs a warmup

and provides exercises for actors. The director will ask actors to improvise (as opposed to read) scenes. The goal of this audition is to see how actors think on their feet and find out if they resist creating without a script. How do they work together when they don’t have a safety net?

Which audition type works best for your play? Which will bring the best out of your auditioning actors? Which will show you who will work together to build a community?

CALLBACKSDepending on the situation and time constraints, you may want to hold callbacks. The best scenario for this is if you already held prepared auditions or improv auditions and want to see how actors use the actual text.




AUDITION DAYHow do I behave during auditions?

Auditions are nerve-wracking. Everyone wants to do their best, but it’s not always easy. It’s the director’s job to make the day a positive experience. This doesn’t mean you have to treat every actor with kid gloves or run around singing show tunes. But every actor will look to you, as director, to set the stage. And it’s your job to take on that responsibility.

BE WELCOMINGThe way you act at an audition will set the tone not only for the day but for the entire rehearsal process. Actors will remember how you behaved. Welcome actors, smile at them, thank them for coming. Actors will be nervous. If they mess up and want to begin again, let them. What’s the harm? If you’re doing prepared auditions, let actors know when they can begin and then thank them at the end. Do not play the role of dictator-director, coldly cutting actors off in mid-speech. That would be a power move and you’d come off as insensitive and disrespectful.

BE TRANSPARENTLet everyone know your intentions from day one. If you’re intent on casting your friends, don’t audition other people. On the other hand, don’t tell your friends you’ll guarantee them a role if you’re interested in looking at other actors too. On the day of the audition, let actors know what you’re looking for and what you’re not looking for.

BE PROFESSIONALIf you want to be treated like a director, you have to act like one from the very beginning. Keep all conversations to the task at hand. You don’t have to be rude, but if your friends want to talk about something other than the show, simply say, “We’ll talk later.”

Never roll your eyes or make comments during an audition. Never discuss a particular actor’s audition while you’re in the room, or in a public space. You don’t know who is within earshot. It’s not easy because sometimes you really want to vent about what you’re seeing and who’s not stepping up to the task. Resist that temptation at all costs. If someone hears your negative comments they will pass on what they heard. And that reflects badly on you. Keep your thoughts to yourself – even after the cast list goes up.

WHAT SHOULD I LOOK FOR?Refer to your audition prep notes. Know what you’re looking for in terms of characterization. Make a list of specific character traits and look for actors who demonstrate those traits.

Other elements to look for are strong physical and vocal skills. Does the actor just stand there or do they have a strong onstage presence? Do you have trouble hearing and understanding the actor?

Each actor will complete an Audition Day Sheet (template included in this handbook). Make your notes on that sheet. Especially if you don’t know the actor. Jot down three visual characteristics



(e.g. short hair, glasses, tall) so you can remember which actor is which. Jot down acting notes. What are their strengths? What are their weaknesses? This will come in handy if you have to choose between two actors for one part and aren’t sure which way to go. Or, if you’re in a situation where a number of student directors have to choose from the same pool of actors, knowing why you need Actor A in a specific role is going to strengthen your case.

Lastly, be open. It’s a great skill to be able to see potential in an actor. Don’t be so stuck on your ideas that you miss an opportunity.

THE AFTERMATHWhat if people hate my casting?

It happens all the time. When you post the cast list, some people will be thrilled, others will be upset. How do you handle the aftermath of casting? Accept and embrace the consequences.

ACCEPT CONSEQUENCESEvery action has a subsequent reaction. That’s the most important concept to remember as you cast. If you only cast your friends, you won’t be taken seriously by the other students. If you don’t cast any of your friends, you run the risk of angering someone. Even if you try to be as impartial as possible, it’s impossible to make everyone happy.

Know that there will be consequences and that it’s okay. It happens. Never make choices simply because you’d rather not make waves. Make choices based on what will make the play the best it can be. Any consequence can be addressed as long as every decision is based on what is best for the production.

EMBRACE CONSEQUENCESWhat does that mean? Not only do you have to accept the consequences of your casting choices but you need to welcome them. Don’t run and hide! Tell people they’re welcome to come and talk to you. Let your friends rail about not being cast. Let people be upset. Let it happen. And let it roll off your back. “I’m sorry you’re upset, but that’s the cast list.” Stay calm, and never let yourself match an emotional outburst from an upset actor. And never change your casting to make someone feel better. Stick to your decision, know that your decision is good, know that your decision is the best for the show.

BUT WHAT IF I MADE A MISTAKE?This happens. An actor who was great in the audition is not great in the show. If you’re seeing a lot of actors, the day can pass in a bit of a blur. You may cast Actor A when you thought you were casting Actor B. Should you reveal your mistake? Should you try to recast? No. How would Actor A feel? If you tell an actor that they’re not as good as they were in audition, will that make them work harder toward the final product? What does revealing the mistake help or prove?

Once that cast list goes up, stand behind it and do your best to work with it. A community of actors wants to trust that the director knows what they’re doing. If you betray that trust by revealing you couldn’t even cast the play properly, there will be consequences down the line.




REHEARSAL PLANNING

The best way to make rehearsals run smoothly is to be prepared. It’s also a great way to show your peers that you should be taken seriously. Show that you’ve thought about the play in great detail, that you have vision, and that you have conceptualized this vision. Idle rehearsals often lead to actors running amok.

WHAT ARE THE NECESSARY STEPS TO CREATING A REHEARSAL PLAN?Vision: There is more to a rehearsal than blocking. The vision is the first and biggest step. It takes your interpretation and visual concept (such as costume and lighting) into account. Every element from characterization to staging should stem from your vision.

Communication: Communicating a vision is sometimes hard for directors – you must turn your interpretation into reality. Translate a vision into concrete action for your actors. Having a vision is not enough; the director must bring that vision to life. How will the characters address your vision? How will the lighting and sound address your vision? How will the costumes address your vision?

Schedule: Before your rehearsal period starts, create a schedule. Work backwards: Start from the final show and go all the way back to the audition(s). How many rehearsals will you need for tech? When do you want to do your first full runthrough? Review the schedule before every rehearsal and decide on an action plan. Are you on schedule? What is your goal for this rehearsal? What do you need to accomplish?

No rehearsal schedule is perfect, and issues will arise. You don’t have to stick to your schedule at the expense of the creative work. But having a schedule gives you a concrete anchor to help you stay on track. Communicate your schedule goals to your actors. Let them know what needs to happen. A sample Rehearsal Schedule sheet is included in this handbook. Fill this out in advance to give yourself a sense of what to expect.

Organization: Being organized also requires you to be flexible. Just as you don’t have to stick like glue to your schedule, you don’t have to organize every single moment of rehearsal. Rehearsal doesn’t have to be a robotic process. Being organized is more about being prepared when you walk into rehearsal.

Review your schedule, know what scene you’re working on, read it, and review any notes you’ve made. Organize the first fifteen minutes of every rehearsal. Walk in, know exactly what you’re doing, know the warmup, know the first planned activity. Get down to work with purpose and your actors will follow suit. Use the provided blank Rehearsal Sheet to plan individual rehearsals. Even if the flow of rehearsal changes in the moment, you never want to stand in front of your actors not knowing where to start or what you’re working on.

Routine: Having a routine works hand-in-hand with organization. Create a standard routine for your rehearsal. Warmups, review notes, work on predetermined scenes, set up next rehearsal, end exercise. Create a shell: what is the beginning, middle, and end? Actors like to know what they’re doing and what’s coming up next. If you establish a routine of starting each rehearsal with a warmup, actors will know what to expect when they walk in the room. Good work habits are born out of following a routine.


REHEARSAL SCHEDULE – ONE ACT

Schedule your rehearsal from auditions to production

ACTION DATE NOTES

Auditions

Callbacks

First Readthrough

Scene Work:Pages____to____Scene Work:Pages____to____Scene Work: Pages____to____Scene Work:Pages____to____

Runthrough and Notes



Tech Rehearsal

Dress Rehearsal

Final Dress Rehearsal

Performance

THE STUDENT DIRECTOR’S HANDBOOK REHEARSAL PLANNING


Production Deadlines – When Will Each Be Ready to Go?

ACTION DATE NOTESLighting

Sound

Set

Costumes

Props

Hair/Makeup

Additional Notes:



REHEARSAL SHEET

Fill out for each rehearsal

DIRECTOR: ___________________________ PLAY:________________________

ACTION NOTES

Rehearsal Goal:

Warmup:

Scene Work:

Pages____to_____

Character Questions:

Blocking Questions:

Production Questions:

(Set, Costume, Props, Music, Lighting)



Conflicts – Who is missing at today’s rehearsal?

What problems need to be solved?

What’s happening at the next rehearsal?




BLOCKING

How do you go from page to stage?

One of the director’s jobs is to create the onstage action. Where are the characters entering and exiting from? What is their physical action. This can be a chore or it can be a fun exploration of space and shape. How do you make sure your blocking is engaging to watch and exciting for your actors?

PRE-BLOCKINGTo pre-block a scene is to create a sketch of possible movement for your actors. Visualize the scene on paper. This does not mean you have to set these movements in stone, because a cross DL on paper may look totally different when performed by an actor. And maybe your actor will have a fantastic blocking idea. Pre-blocking will help you visualize the scene and provide some choices when you figure out the scene with your actors.

As you consider your blocking for a scene, keep the following questions in mind:

• What is the reason for this movement?

• Is the movement character-driven?

• How will the blocking address my vision?

• What does the audience see?

BLOCKING WITH PURPOSEYou’ve spent the time it takes to determine a vision for your play. So take that into consideration when you block a scene. Movement should never happen “just because.” That is when blocking looks fake and clunky. The best way to avoid this is to make every move character-driven. As human beings we have lots of reasons to move – we want to get closer to someone, we want to get away, we feel awkward, we feel angry, we want to avoid suspicion. Use these motivations when you’re blocking a scene and the movement will look organic and natural.

When you’re blocking a scene, have the actors say the following out loud before they complete any action:

I’m moving because...I’m standing because...I’m sitting because...

I’m turning away because...

Justify the movement – make sure the actors know and understand the reason behind the movement.

WHAT IS THE AUDIENCE LOOKING AT?Lastly, never forget your audience! What are they looking at? Is the main character turned upstage for a long time? Does a dramatic moment happen in a straight line? This is why the director sits in the audience during rehearsals – so they can play the part of an audience member.


The most important acting partner an actor has is the audience. It’s your job as director to make sure your actors connect with the audience. For example: Keep actors in ¾ profile when in conversation, and make sure they’re always standing in their light. This is going to heighten the impact of your production.

TOP TEN BLOCKING MISTAKES1. Blocking actors in lines instead of in shapes.

• Always try to form shapes onstage. Shapes are engaging, lines are flat. This makes your blocking three-dimensional and more interesting for an audience.

2. Blocking for the sake of movement instead of character-driven action.

• Nothing looks more awkward than an actor moving because he’s been told to do so, instead of finding inner motivation.

3. Forgetting the audience.

• The audience is part of your production. What are they seeing?

4. Not dealing with the upstaging actor.

• Put a stop to actor mischief onstage or you’ll lose control of the production.

5. Not being prepared ahead of time.

• It’s one thing to let actors explore onstage, but you’re the boss. Have an idea of what the scene should look like.

6. Being too rigid with blocking.

• Conversely, if you insist on actors moving in one certain way you’ll get stiff unmotivat-ed movement.

7. Too much movement.

• If there’s too much chaos onstage the audience won’t know where to look.

8. Too little movement.

• If actors are standing around for too long you’ll bore the audience.

9. Not taking into account how long scene changes will take.

• This is a big one. Scene changes take time. What is your audience looking at while they sit in the dark?

10. Not knowing the lingo.

• Make sure you know the necessary blocking vocabulary. You’ll need to know the words and the writing shorthand to write notes in your script. It’s not good enough to say “I didn’t know.”

THE STUDENT DIRECTOR’S HANDBOOK BLOCKING



GIVING FEEDBACK

Another part of the director’s process is to give notes during rehearsal and leading up to opening night. What kind of notes should a director give?

The director is the overseer, watching the show from the audience’s perspective, and giving notes that reflect the audience experience (I can’t hear you on this line; watch your cross, we want to see your face; the pace is lagging, we want the audience on the edge of their seats). The director is also the defender of their vision and the implementation of that vision. They have to make sure everything onstage from tech to character development supports this vision. Notes can be effective and help improve a performance. But notes can also take a play down the wrong path. How do you make sure your notes accomplish the former and not the latter?

MAKE YOUR NOTES PRACTICAL.It’s unhelpful for an actor to hear I didn’t like that moment. If you want an actor to make a change or try something different, it has to be in the form of practical action. The best way to do that is to make sure your actors know their objective for the scene, their tactics for pursuing that objective, and what obstacles stand in their way.

FRAME YOUR NOTES CONSTRUCTIVELY.Actors, like most people, want to be told they’ve done a good job. That doesn’t mean you should ignore issues, but you want to make sure your cast and crew are receptive to criticism. You can do this by highlighting something that worked, and then pairing it with the issue you’d like to address. You can ask an actor to try something different, and be specific with what you want them to try. You can always bring it back to the audience experience and your vision. If the issue affects either of these things you have legitimate grounds for your concerns.

DON’T FORGET THE POSITIVE.During notes sessions, it makes sense for a director to focus on what needs to be changed for the next rehearsal. But don’t forget to mention the moments that worked and why they worked. As mentioned above, everyone wants to know when they’ve done a good job.


DON’T FORGET TO GIVE NOTES TO THE TECH TEAM.The techs are part of the production. Make sure you include tech notes and make the techs part of the process.

CONSIDER THE ACTOR.You may have to give notes differently to different actors. Directing is just as much about working with people as it is working with the script. Actor A may only want blunt notes while Actor B needs a softer touch. This is something that may take you a couple of tries to figure out, and you may have to follow up with an actor to make sure your approach is working. It boils down to trust – if an actor trusts you, they’ll trust your notes.

DON’T OVERWHELM ACTORS WITH NOTES.Yes, you want to make sure everything onstage is right. But if you spend an hour giving notes your actors are going to rebel. If you give an actor 27 different things to change, you’ll be lucky if they remember one or two. Be efficient with your notes, and pass along the items that are most important. If there are extra things you want to pass along to an actor, consider talking to them separately before the next rehearsal.

EXERCISE: Practice giving notes. Watch a scene from a movie that you don’t like, and then think about what notes you would give the actors in that scene. How would you make the notes constructive? Can you think of something positive to include with the criticism? What would you say to the tech?

THE STUDENT DIRECTOR’S HANDBOOK GIVING FEEDBACK


YOU CAN DO IT!

At the end of the day, this is how it is: You can read all the handbooks in the world, but the best way to become a director is to start directing. So go do it! Be organized, define your vision, and remember that you are the director. You are the one in charge.

Directing a play is an exhilarating challenge. You have the opportunity to bring a text to life and collaborate with other creative individuals.

After opening night, reflect on the process. What worked well? What would you change? Would you like to direct again? Why or why not? How can you apply what you’ve learned from this experience to the real world?

Break a leg!


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HANDBOOK - Theatrefolk › blog › wp-content › ...directing people as it is about blocking or character development. The play will suffer if a director fails to communicate or