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The Director’s Impact

Chapter 8

+Evolution of the Director

Relatively new position in theatre. Theatre functioned for centuries without a director

During the Golden Age of Athens (450 B.C.E.-350 B.C.E.) Playwrights usually supervised their own show. Choregus – Earliest producer Didaskolos – “Teacher” – would be hired to come in and help give direction

to the performance. Playwright-director is created by the Ancient Greeks

Lasts for centuries 2,000 years later the principle still existed with Shakespeare staging his own

plays

+Evolution of the Director

18th Century Director moved out of the playwrights hands and into the

hands of the actor Theatre was now a profitable business Decision made to move away from playwright intentions

and toward what would sell tickets

Actor-managers Was the norm for two hundred years Ran the business and were the main attractions Directed the productions to suit their own egos Playwrights would re-write the plays to ensure the actor-

manager had the starring role

+Evolution of the Director

Late 19th Century Power is taken from the actor-manager A new position was introduced: The Director They gave shape to the performance

First Director (1874) George, Duke of Saxe-Meiningen Was in charge of his duchy in Germany He made the laws He decided how plays would be produced Interpreted the scripts Oversaw the designs Told the actors where to go, what to do, what to say, and how to say it. Was meticulous in his concern for detail and was responsible for the idea of

making a single clear, artistic work. An idea that is still in place to this day.

+Evolution of the Director

The Duke’s way of presenting plays spread like wild fire.

Two of the most influential director’s of the time: André Antoine (France) Constantine Stanislavski (Russia)

André Antoine (1853-1943) Founded the Théâtre Libre (Free Theatre) in Paris

1887-1896 Was a place where artists were “free” from governmental

supervision and artistic traditions. Became the model for small theatre companies across

Europe and America. Plays were artfully rehearsed and carefully directed.

+Evolution of the Director

Constantine Stanislavski (1863-1938) Founded The Moscow Art Theatre

Still in operation today. Established the Stanislavski System Embraced Realism The most influential director of the 20th Century

Is studied all over the world His books are translated into just about every language

on the planet Brought an objectivity to theatre so that a coherent world

was created for the audience.

+Duties of the Director

Selecting the Script In today’s theatre the director rarely does this. Know your audience

Researching the World of the Play Must understand the circumstances the playwright has

imagined Understand the playwright’s life and its relevance to the

play Read the playwright’s other works Understand the era in which the play takes place Understand the attitudes and social mores or manners of

the era

+ Duties of the DirectorContinued

Analyzing the Script Understand the genre so you know how your audience will react Understand the theatrical style so the audience knows the

reality they will be in Know how the play works (Dramatic Structure) Uncover:

Exposition Foreshadowing The inciting event The crisis The resolution (Dénouement) Chart the rising and falling action Indentifies the theme or themes

+ Duties of the DirectorContinued

Selecting the Key Collaborators Costume Designer Set Designer Light Designer Sound Designer Music Director* Music Conductor* Choreographer* Fight Choreographer**

* Only needed when performing a musical

** Only needed if sword play or complex fight scenes are used

+ Duties of the DirectorContinued

Conceptualizing the Production Intellectual and creative process Two types of concepts:

The Core Concept: the director’s determination of the most important of the many images, ideas, and emotions that should emerge from the play. This will give the production shape, meaning, importance, and momentum.

The High Concept: an introduction of highly unexpected insights into character, story, or style. Moving a play out of the period or setting in which it is set and placing it in another.

Realizing the Conception in Sight and Sound The designers begin turning idea into reality.

+ Duties of the DirectorContinued

Casting the Roles Considered to be 80% of directing Actors must meet the audience’s expectations of the characters. Typecasting is extremely common in theatre Depending on the concept, a play can be opened up to non-traditional casting. Casting is about compromise

Rehearsing the Production Staging: AKA Blocking or actor movements on the set Coaching: Guiding the actors to find their characters and motivations Structuring the Dynamics: setting the tone, pace, and size of the performance Standing in for the Audience: must step out and look at the production from

the audience’s point of view and offer constructive criticisms Orchestrating the Final Rehearsals: these include the Technical and Dress

rehearsals where all elements are put into place. Being the Spiritual Leader: must have an even mixture of being the Parent and

being the cheerleader. Cashing the Check: do the job and get paid.

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End of Chapter 8