Some Personal Notes and Views
STYLE OF DIRECTING
With regard to really experienced directors and their style: never confuse nurturing, versatility, openness and ease of handling the cast and crew with a lack of power, competency, planning and taking charge! They don't threaten, demean, yell or bully. The really gifted ones know this! They get the most from the happy people with whom they work. Those that have experienced this have seen the results of fostering everyone's creativity. These directors gather an intensely loyal following in the business who clamor for opportunities to work with them again. They have their own timelines and have a feel on the pulse of a production and when to bring each piece together. They let the individuals take responsibility and allow them to concentrate to work in their own areas and check in unobtrusively on progress. They don't micro-manage and conversely don't need someone to "wag the dog. (And you never want to push them to draw a line in the sand).
Directing is Crafting a Performance
I have never understood theatrical directors who chose to yell, scream, make public displays, tear down actors and even reduce them to an emotional episode of catharsis. This, to me, is not a sign of genius. Bullying and other forms of coercion only engenders resentment and fear among a cast or crew. Perhaps it is because I am well trained in psychology, motivation and suggestion as well as most acting techniques and in a wide range of physicality, I have never had to raise my voice at a rehearsal with an actor. It may work for some - but for myself and my cast - it does not bring the necessary reaction nor nurtures creativity. Rather than giving personal notes publicly, I always prefer to speak with an actor privately. This may well be why actors eagerly ask me for line readings.
Interesting quote: “A theatrical production is a very delicately balanced and vulnerable entity. Backstabbing, innuendo, malicious gossip, nepotism, favoritism, a breach of confidence, doubt, dissent expressed or detected from producers, directors, or stage management – even one incident, can permanently destroy trust and quality of the show – can destroy the success of a production or prevent it from ever going to the stage!”
To craft a performance with an actor, the director is not a manipulator but a developer. She/he is a doctor with many tools and techniques and chooses exactly what is needed with that actor, for that moment in the script that fits the actor. These tools each a have a general name: Quintilian, Stanislovski, Adler, Suzuki, Grotowsky, Meisner, Myerhold, Strasberg, Spolin, Brecht - just to name a few.
On the reverse side, it should be understood that not every director is a dramatic teacher. Each has her/his own talents as well as limitations. There are some that are incredible vision with lighting, sound and other aspects of production. I have been asked by directors to meet with individual actors to do the necessary character development, emotional delivery or solve problems with blocks. The fact that so many actors repeatedly seek to work with me as their director, I find extremely flattering and feel it is the highest compliment I can be paid by an performer.
DIRECTING COMEDY
This is a very unique area of directing. Not every actor, nor director is gifted in delivering comedy - nor is every playwright able to convey humour in a script. Awareness of the mechanics of verbal comedy and all the inflections and timing is essential. Sometimes it has to be cultivated directly with the actors. Physical comedy is another part of the art. Slapstick and prat falls are OK but dated and can be overused. The precise use of facial expressions, gestures and subtle actions are not only entertaining, but carry a show's energy through slower scenes and give them impact. Choreographing these actions, (even subtly) will provide entertainment to even the most astute audience members.
DIRECTORS' STAFF
Assistant Director: This person can step in at any time. He/she can complement the director's vision and enhance that result. Like the stage manager, serves as a private ear to the director.
Stage Manager: The director's right hand in a production. These people know everyone and everything going on. They do not carry gossip but instead quash rumors. They prevent troubles, misinformation and hard feelings. They do not get drawn into the responsibilities of other departments and maintains equilibrium. If a problem arises from another department - the SM meets with the director.
Lighting Supervisor - Heads light board techs. Initially sits through an entire rehearsal, observes and takes notes as to which scenes and characters will require attention, SFX or individualized lighting concerns or design.
Sound Supervisor: Heads the sound board techs. Initially sits through an entire rehearsal, observes and takes notes as to where any sound must be supplied.
Costumer: Initially sits through an entire rehearsal, observes and takes notes as to which characters have the highest visibility (time and impact), what can be just out of the actor's closet, what needs to be bought or can be modified from costumes in the storage area. Then triage is next: who is on for just a few minutes vs. who is on stage a lot and is downstage. A conference with the director will set things as to ho complicated, detailed this will be. After a plan is formed the costumer contacts the director and the decisions are made.
Sets and Props: Goes through script, attends a rehearsal to observe the actors and blocking and meets with the director.
The Bane of all Directors: Someone who changes things without notifying the director, tries to change things outside of their area, over-promises, over complicates or does not consult. Especially bad is when a person creates a problem and then positions themself to be the hero. Often a "martyr type" of personality.
SOME DIRECTING CREDITS: (Canada & USA)
King Arthur's Court,
Winterfest - Mediaeval Style,
Star Wares NASA Spinoff Technology Show,
The Fourth Hypothesis,
Spaceport Louisville,
Von Braun,
Sherlock's Mentor,
The Candid Stuff (series),
Is Anyone or Anything Out There?,
The Reunion,
The Great Stage Hypnosis Comedy Improv Show,
Directions To Venus,
The Alice Effect Comedy Improv,
Same Time Next Year, - Canada
Hitler- The Struggling Artist,
Barefoot In The Park,
Sordid Lives,
Bell, Book and Candle,
The Art of Murder
The Faery's Kiss -USA
The Faery's Kiss -Canada
Who Done the Don In?
Frankenstein (Producing Director)
Dickens' A Christmas Carol
The Bunbury Murder at the Henry Clay
Murder Most Magical
____________________________________________________________________________________________________________________________________________________________________________________________________________________
UPCOMING DIRECTING PROJECTS in N. America 2009-2010 (some under negotiation): various Forensic Dinner Murder Mysteries such as The Bunbury Murder at the Henry Clay, Murder Most Magical.
Linkson this site of interest to directors.
Some Principles of Grotowski
For Directors: Check out mini-essays
Actors Learning Lines - a perpetual problem. How to help them. Problems to watch for, Diagnosing the dynamics.
.
.
Return to Home Page
email
