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SCRIPTING/PRODUCING AND DIRECTING.

FTP 101

SCRIPTING

Synopsis: A synopsis is a brief summary of the major points of a subject or written

work or story, A synopsis is a tool for the writing process. It has three main

objectives:

1) It helps verbalizing the idea of the paper and at the same time makes it more

concrete.

2) It is a tool for thinking the subject and argument of the paper through.

3) It helps you to focus and structure the paper.

A synopsis should be long enough to pack in everything that's good about your

story, but short enough to be read in less than five minutes. This usually translates

to two to three single-spaced typewritten pages.

Play Selection: The first point of call in any play production process is the Play

selection or the choice of script. This particular task can be executed by the

director who is the person in charge of bringing all other element together. In some

other cases however, this same functions can be carried out by the producer

especially in commercial theatre. Others who can makes decisions are;

Government, institutions and communities, etc. these other persons and

organizations usually have such authoritative decisions especially when they are

the one's sponsoring such productions. It is noteworthy to mention here that in

selecting a play, the following must be taken into consideration:

i. Financial strength or the Budget

ii. Targeted audience/audience appeal (children, women associations, teachers on

teenagers, conference, etc.)

iii. Strength of the Cast/Technical equipment

iv. Availability of time and space.

v. Type of theatre (commercial, non-profit, educational, etc)

Play Analysis

It is the breaking of play into bits and parts in order to show the detailed structure

and minute details as well as how they relate. The main purpose is to find the unit

of purpose, idea and act. Play analysis takes into consideration the following:

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1. The dialogue

2. Given circumstances

3. The dramatic action

4. The Idea

5. The tempo

6. Rhythm

7. The mood

8. The atmosphere

Dialogue:

It is the life blood of the play; a vehicle of dramatic action and it primary purpose

is to be heard.

Characteristics of Dialogue

a) lt is action, not only limited to verbal exchange. Drama and dialogue are like

two sides of a coin that must be balanced. It should also be used to create a visual

impression through its delivery. It is a highly symbolic and economical

intercommunication between characters. Dialogue is a building process and it has

built in characteristic of compelling a response.

b) Dialogue may be verse or prose, which is imagistic. The choice of the dialogue

whether verse or prose depends on the given circumstance of the play. For instance,

a play with rituals requires poetic dialogue.

c) Dialogue is an inner language- it is much more connotative than it is denotative.

This implies the deeper meaning of the dialogue. As an inner language, it is much

more weighted with feeling meaning than definitive meaning.

d) Dialogue is structured lines and speeches, which implies that, it takes into

consideration the climatic placement of words and line values. It also means a

technical delivery of the text and subtext, the inner quality of the line.

Given circumstances

Given circumstance has to do with the condition or circumstance provided by the

playwright in the text. It deals with the environment and characteristics of the

environment. It also encompasses the characteristic of inner and outer

environment. This includes attributes you can perceive but not see.

Environmental factors in given circumstances entail the specific conditions like

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the place, location and time. The date and season also have to be taken into

consideration.

Types of Environment

a) Economic environment

b) Political environment

c) Social environment

d) Religion environment

Polar Attitude

Another important factor in a given circumstances is polar attitude. Unless there

are polar attitude in a given play, there will be no dramatic action. Polar attitude

is like placing two magnets that attracts and repels. This denotes the internal

emotional movements of the character.

Dramatic Action and Characters

Dramatic action and characters constitute the heart core of a play. Dramatic

action is a clash of forces. The forces may be inherent in the characters or the

environment. This could be sociological, political or economical. Characters are

the instruments that affect the action and are also affected by the action. They

are compelled to take action by these forces. Once the director understands the

action of a play, he has grasped the basic tools of directing. It is not what he feels

about the play but what the author puts into the play.

Character

Character is made up of all the dramatic actions carried out by an individual in the

play. In other words, character is defined by action. Even in real life, a person is

defined by action. Character is a summary statement of an individual. However,

there is a distinction between characterization and character. Character is created

by playwright and characterization is created by the actor. Character is;

I. Action

II. Revelation

III. Density

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Characteristics for Character Analysis

1) Desire

2) Will

3) Moral stance

4) Decorum

Characters analysis and description is determined through analysis of action. A

character is defined only after his action: To define him before this is prejudgment.

1) Desire: The character's desire, how strong ne pursues Wand the type of desire.

What is compelling him? What is the magnitude or the desire? It is necessary to

also look out 1or the intention whether negative or positive behind the desire

because it is "the intention that reinforces the desire.

2) Will: This implies the will- power and relative inner strength to achieve the

desire.

3) Moral stance: What is the etiquette or moral of the character thus includes

how the character relates other characters: is he a cheat or an honest person?

Has' live respect for himself ores others?

4) Decorum: This is the physical appearance of the character, mannerism and

behaviour to other characters. Does he mix with people or not. All these can give

an insight into his inner drives and ambition.

Derivatives of Dramatic Action, Idea, Rhythm Tempo, Mood, Pause, Atmosphere

1) Idea: There is always Central idea in a play around which is the Secondary

ideas. These Ideas are mined by given Circumstances. The central Ideals

that is the unity of, action is revealed by the feelings after analysis of a

meter and action.

2) Tempo: Thus refers to the changing rate or bits of dramatic actions and

this change has a rhythmic pattern. Each unit of action has its own tempo,

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bit and Sine: a play is made up of varying unit of action so also it, is made

up of varying unit of tempo.

3) Pause: According to Jean Louis, Barrault a play is interrupted silence, that is,

silence interrupted by sound. A playwright sits down and starts with a

silence void and punctuates it with sound. A pause is a silence, it is action,

it is an element of tempo and rhythm. Pause is a gap with theatrical effect

because tempo values can be very strong and moving. What is not said is

often as important. Pauses form part of tempo structure of play.

4) Moods: They are the feelings and emotions generated from the clash of

forces in the play. Moods' in their accumulative effect declare the tone of

the play. We can therefore conclude that moods are the tonal feelings of a

play. Audience go to the theatre to experience, to feel' and be moved by

mood values of the play. It' is when the mood values are out that the

central ideas begin to take shape. The dramatic action of plays is made up

of mood shifts. Invariably moods derive from dramatic action.

5) Rhythm: It is the effect 'of accumulating tempos. It is the accumulative

effects of the unit bits and it is the effects created by the elements in the

play from temporal (physical) development of action. The mood structure

of a play can determine the basic rhythm of the play.

6) Atmosphere: It is the aura or the personality of the play; it is the "mood-

meaning" of the given circumstances. A Director who is conscious of the

aura or atmosphere of play and the given circumstance and can state it

exactly will exert a great command over the design of his production.

PRODUCTION

Production according to English dictionary is the act of creating, making or

producing something. It is pertinent to define the concept base on how it will be

used in this discourse.

Production: Effiong defines production as the marriage of all theatrical activities

by cast and crew members, toward realizing a show. In other words, production

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entails the collaboration between the cast and crew in bringing on stage

performance for the audience viewing pleasure. Effiong further likens production

to the art of cooking when he asserts that production is a well cooked theatre menu

with lots of ingredients contributed by experts in their own field.(35)

STAGES OF THEATRE PRODUCTION

1- pre- production

2- production

3- post- production

Pre-production stage

Before the title of the production was announced, several decisions had already

been made. First, the play was selected. This was a major responsibility for your

teacher or director.

Selecting the play

There are many things to consider in selecting a play. Directors need to know what

type of show would be suitable for the school and community. They also need to

be aware of the budget, the availability of the play, the talents of the actors, and

their own directing capabilities. Finally, directors must be aware of any special

needs involved in staging a particular show, such as the sets, costumes, stage

facilities, style of acting, and time needed to produce the show. In some cases, a

play might be selected by committee, or students might vote on a favorite play, or

the class could work together to write a script. The method of play selection is

determined by the director or the producer.

Obtaining permission

After selecting the play, the director or producer must secure permission to

produce the play and purchase copies of the script. Any material protected by

copyright should not be photocopied and requires permission from the publishing

company for production. A copyright is the registration of ownership of a piece of

literature or music. In most cases, there is a fee charged for each time the show is

produced. This fee is called a royalty. A portion of this payment goes to the

playwright.

Selecting the cast

While analyzing the play, the director begins to form an impression of the kinds of

characters the playwright has created. With these characters in mind, the director's

next major responsibility is to choose actors that can bring those characters to life.

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Matching up characters and actors is called casting. In educational theatre, casting

is usually accomplished through a selection process called auditions, in which

actors try out the parts they want.

Auditions

During auditions, actors try different parts for the director. Auditions are extremely

competitive, so always come prepared. Reading the play before the auditions will

give you time to think about the play. Directors conduct auditions in different ways,

depending on the needs of the particular school or group.

When a production requires specific talents, such as singing or dancing, the

director might require songs or a short dance routine to be included in the audition.

Such important information is usually specified in the audition publicity. If you are

unsure, ask questions on your own. To feel comfortable about the audition process,

find out as much as possible before the day of auditions.

Casting

When selecting the cast, the director must consider each actor's ability to interpret

the character and project the character vocally and physically. The director needs

to consider each actor's physical attributes - gender, appearance, height, and size.

The director also looks for growth potential. In educational theatre, a director

wants an actor who will not just be good in auditions but will continue to grow,

giving the character depth as the rehearsals progress. Dependability, cooperation,

and attitude are other factors that a director considers when selecting a cast.

After the first auditions, directors sometimes need a second or third "look" at an

actor. These second and even third audition opportunities are called callbacks.

This callback auditions help narrow the selections by giving the director another

chance to see and hear the actor. After making the "final cuts" (eliminations) and

casting the show, the director posts the cast list or announces to the actors their

assigned roles.

Many directors assign understudies when the cast list is posted. An understudy is a

person who attends all rehearsals and is prepared to perform if the original actor is

absent from a performance.

Once casting is complete, it is time for rehearsals to begin.

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The rehearsal process

Rehearsals are preparation sessions for the production. Rehearsals provide an

opportunity to discuss and analyze the play, to learn lines and blocking, and to

perfect every aspect of the play.

How much rehearsal time is needed will depend on the abilities of the actors, the

length of the play, and the difficulty of the play. Therefore, rehearsals are

extremely important, and your full cooperation is needed.

These guidelines are helpful reminders of good production etiquette, which is

appropriate behavior and common courtesy.

Each rehearsal is planned for a specific purpose. Although your director may call

the rehearsals by different names, most rehearsals follow a similar pattern: reading

rehearsals, blocking rehearsals, line checks, developing rehearsals, run-throughs,

polishing rehearsals, technical rehearsals, costume parade, and dress rehearsals.

You are now ready to learn what happens from the first rehearsal all the way

through until you put away the show.

Reading Rehearsals

Reading rehearsals are rehearsals set aside for reading and understanding the script.

These are the first rehearsals after the show is cast.

These rehearsals can take place in the classroom, in a rehearsal room, or on the

stage. At this time, all changes or cuts should be made in the script in pencil.

The director's purpose in the first reading rehearsal is to briefly explain the theme

of the play, to describe how the playwright tells the story, and to share his or her

plans for telling the story onstage. The director might also describe the characters,

show a drawing of the floor plan, explain any problems in staging, and share other

relevant ideas about the production.

Next the cast reads the play aloud, carefully considering pronunciation and

interpretation of lines. Reading rehearsals provide the actors time to ask questions

and to develop a clearer understanding of the characters and the play.

Reading rehearsals can take several days, depending on the play.

Blocking Rehearsals

Blocking rehearsals are used for planning all stage groupings, basic movement,

body positions, Crosses, entrances, exits, and stage business. For ease in blocking,

the director will divide the play into workable units, or scenes. Next, most directors

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will ask the actors to disregard all stage directions in the script. Those directions

probably will not suit your director's interpretation of the play or the floor plan for

your set. The director will guide the cast through each scene. Be sure you

understand the motivation behind each move you make.

Some directors draw the plans on a chalkboard, others talk and walk the cast

through, and still others let the actors experiment through improvisation. However

your director directs, you should make careful notes in your script in pencil.

Blocking can change as rehearsals progress.

After each scene is blocked, the actors walk through it several times to clearly

establish the movement and business in their minds. That is also the actor's signal

to memorize lines for that scene in the play, unless told otherwise. Blocking

rehearsals continue until the entire play is completed. Meanwhile, all actors are

memorizing their parts. When an actor has completely memorized his or her part,

that actor is said to be "off book" or "off script."

Line Checks

To make sure that the entire cast is off book, a director may call a line check, or

line rehearsal. During a line check, the cast sits in a circle performing only the lines,

without any movement or action. The purpose of this rehearsal is to be sure that all

the actors have memorized their lines. Provided everyone is off book, the director

may also use this opportunity to time the run of the show from opening line to

closing line.

Developing Rehearsals

Developing rehearsals are also called working rehearsals because that is exactly

what happens. The director and cast are working as they go over and over the play,

making changes and adjustments as needed. As the play develops, sometimes new

action or stage business is added to help the audience understand what the

characters are doing and how they are doing it. Props are added during these

rehearsals so that the actors can become accustomed to their use. During this

period, directors often work individually with actors or with small groups of actors

to strengthen their scenes without rehearsing the entire company.

Run-Through

Run-throughs are rehearsals without any stops. These rehearsals should take place

after all actors are off book and the blocking is firmly established. These rehearsals

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must take place at least two weeks before the production. Run-throughs give the

director an opportunity to see the strengths and weaknesses of the show.

During the run-throughs, both the assistant director and the director make notes.

Some directors use a small tape recorder to "talk" their comments. The tape is then

played at the critique session. Many directors like to videotape these rehearsals and

view the tape with the cast at the next rehearsal. At least two run-throughs are

beneficial to the performance.

Polishing Rehearsals

Polishing rehearsals are used to smooth out all the rough spots discovered during

the run-throughs. The play is now in the final stages of the rehearsal process, and it

is important to continue to improve. These rehearsals often stop and start, focusing

on problem areas and strengthening the weaker scenes. These rehearsals also give

actors time to fine-tune characterization, vocal projection, and "picking up cues" -

qualities that contribute to a well-polished production.

Technical Rehearsals

Technical rehearsals focus on all of the technical aspects of the play, including set

changes, lighting, sound, music, and special effects. Once the scenery is in place,

the first technical rehearsal may be held with just the stage crew so that they can

get the feel of moving the set pieces without the cast. Some directors have similar

rehearsals for lighting, sound, and special effects, with the assistant director

reading the cues.

All technical elements must be completed for a full technical rehearsal. During

rehearsal the actors walk through the play delivering only lines that are cues for a

technical effect. Doorbells ring, lights go up and down, scenery changes, doors

open and close-all at the proper time. Enough of these rehearsals must be

scheduled to have the technicians feeling comfortable and all the technical

elements running smoothly by dress rehearsal.

Costume Parade

The costume parade is an informal modeling of all costumes under the lights. The

director and costume crew sit in the audience and view the costumes, making notes

about possible changes. Holding the costume parade a week before dress rehearsal

gives the costume crew time to make the needed changes before the first dress

rehearsal.

Dress Rehearsals

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A dress rehearsal is a rehearsal that is conducted as though it were an actual

performance. The crews are in place. The actors are costumed and in complete

makeup. The show runs without stopping unless there is a major problem. After the

rehearsal, the director will gather the cast and crews and go over any problems that

need to be corrected before the next dress rehearsal.

At least two dress rehearsals are required, and three are usually needed. The final

dress rehearsal should be completely under the direction of the stage manager.

THE PRODUCTION STAGE

Before the Performance

Everyone should arrive at the school or theatre early - your director will tell you

how early. Be sure you have made arrangements for transportation so that you

won't be late. Once you arrive, you will need to report to your assigned place for

makeup and dressing. Always check your own props to be sure that they are in

place and ready to go. Once you are in makeup, you should begin relaxation

exercises and vocal warm-ups. These can be done individually or as a group. Some

directors ask the assistant director to plan and lead these activities.

Thirty minutes before "curtain," the stage manager will call "half-hour",

announcing 30 minutes remaining before the show begins. Five minutes before the

curtain opens, the stage manager will call "places," and all cast members should

report to the areas designated by the director.

This is a most exciting time in an actor's life. The hours of training and rehearsal

will now pay off in the performance. It is time to take a deep breath, swallow, and

think about your character. As you go onstage, you must become your character

rather than being just an actor playing part.

Beginning with the stage manager's signal, the performance should go as rehearsed.

This is not the time to try something new. If a problem should arise or a line is

missed, follow the guidelines that your director has instilled in you to keep the

show moving.

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Production in film:

During this phase it is key to keep planning ahead of the daily shoot. The primary

aim is to stick to the budget and schedule, this requires constant vigilance.

Communication is key between locations, set, office, Production Company,

distributors - in short, all parties involved.

Principal Photography

This is when the camera rolls. It is nearly always the most expensive phase of film

production, due to actor, director, and crew salaries, as well as the costs of

certain shots, props, and on-set special effects. Everything that has happened up

to this point is to make principal photography go as smoothly and efficiently as

possible. Communication between all parties is crucial during the shoot and the

production must maintain a full set of records and strive to remain on time and

on budget.

After Each Performance

After each performance, you will be Cheerful. But you must remember to put away

your personal props, hang up your costume, and take off your makeup. Although

you may be tempted, don't ever go out into the audience or crowd dressed in your

costume and makeup-unless your director has planned a "meet the cast time. Your

parents and very closest friends will probably come backstage to congratulate you.

Crews will carefully check for any repairs or replacements that need to be made

before the next performance. Everyone should help up to make sure that everything

is ready for the next show.

After the Final Curtain

It is sad, but every show has to end and be "put away. In theatre, putting away

everything that was used in the performance is called the strike. This part of the

production process is also a team effort. Your director will plan the best time for

the strike.

Closing Traditions

Theatre groups often have special traditions that take place after all of the

performances are over and the show is struck. Casts sometimes gather to discuss

the show's success or to enjoy viewing the videotape together. Classes usually

complete an evaluation or a self-critique. Lasting memories of the show can also

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be created by autographing programs, scripts, or cast shirts at a cast party. Your

director will have a special way of "putting the show away."

POST PRODUCTION

During the post production process, a number of other activities may occur or take

place. In an educational theatre, for the most part, the viva is done just immediately

after the last curtain drop. It is also a meeting by the cast and crew members to

analyze the production. Here, the strengths and weaknesses of the production are

pointed out and trashed.

Viva: An examination like exercise that usually comes immediately after every

production. As stated, this mostly takes place in academic/educational theatre.

Viva is a means where students’ actions or inactions, and performances are being

assessed.

Worthy of mention here are other production processes that are peculiar to film and

television productions. These are processes that comes after auditioning, they are:

shooting, editing and distribution, which are usually categorized under pre-

production, production, and post-production.

Shooting is the process of capturing different shots on a filmstrip. These shots will

be edited later to a complete film that can be watched by the public.

Wrap

The period immediately after shooting ends. It is when we strike (dismantle) the

set and clear the location. Everything must be returned in good order to suppliers

and there must be a full set of records of the shoot.

Film Editing: film editing is the art, technique, and practice of assembling shots

into a coherent sequence. It also entails mixing needed sounds and other effects.

Film Release refers to the authorization by the owner of a completed film to a

public exhibition. The exhibition may be in theatres or for home viewing.

This stage starts when principal photography ends, but they may overlap. The

bulk of post-production consists of reviewing the footage and assembling the

movie - editing. There will be contributions as required from Visual Effects (VFX),

Music and Sound Design. The picture will now be locked and delivery elements

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will be created. Further information on Post Production can be found later on in

Week 1 of the course.

Distribution

The final stage in film production process before it gets to the audience for

consumption is the film distribution which is the process of making a movie

available for viewing to an audience.

Once the film is completed, it must be distributed. This is how producers make

their money back and a considerable amount of time and energy will be invested to

secure the right distribution deals for their projects. The film will go into the

cinema and/or be distributed via various platforms such as Amazon Prime, Netflix,

and HBO etc.

THE DIRECTOR

Meaning and Attributes

Who is a Director? What is he? What are the qualities of a Director? Director here

is a play Director.

The director is the person in charge of the artistic production of a play. Directors

spend many hours reading and studying plays as well as attending theatrical

productions to enrich their background in dramatic literature. Directors want to

enjoy directing the play, they want the cast and crew to enjoy working on the show,

and they especially want the audience to have a rewarding theatrical experience.

For those reasons, directors try to select plays that have good literary merit, that

will challenge the actors as well as the director, and that will offer more than mere

entertainment to those attending.

Director therefore is the artist who unifies all different facets that make up a

stage/film production. He is the playwright creator in the sense that a play is a dead

material until it is seen on stage, when the Director makes it come alive. He is a

megastar; a complex personality encompasses other areas of the expertise like

design, acting, sound and choreography. These are specialized areas where the

Director must embody and represent. He does not need to be trained in all these

areas but he must have intellectual knowledge of them as the overall supervisor.

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The Director is a confident and competent person. He must have confidence in his

ability and should be able to instill this confidence in the people, he is working

with. He is a man or woman who can dare, that is to have the courage to break new

grounds. He must be mentally alert, intellectually sound and philosophically up to

date because of the plays, which may be intellectual or philosophical.

Another attribute of the Director is that he is a borrower of ideas. He has a play to

produce and borrows from different culture to interpret the play. He is free from

convention, free of mind. He is not a copy cat but a creative, Imaginative borrower

who has to transform the borrowed items into new outstanding things. To venture

into directing, you must have all these attributes. By the time the Director

transforms borrowed items, he creates something unique and places a stamp of his

authority and personality into whatever he does.

Types of Directors

Broadly speaking, there seems to be three types of directors. Oscar Brockett (1974),

Cameron and Hoffman (1974), Edwin Wilson (1991), all identify these three types.

The first is referred to as the faithful follower of the playwright's script, to arrive

at the playwright’s vision. Specifically, Cameron and Hoffman imply that this type

of director is a slave. In the sense that he recognizes, accepts, and follows the

playwright as his master. Such slave-driven directors have their jobs made easy

when they stumble on a script with elaborate instructions, such as get up, sit down,

go to the fireplace, squint his nose etc. But they seem to be at a loss should they by

any chance find themselves working on a script which has little or no instructions.

This is true, just as slaves do not know their bearings when they are not driven by

the drover-man.

In amateur settings, or for beginners in directing, let us say sophomores for

example, this type of a director can be tolerated for the simple reason that he/she is

learning and growing. Cameron and Hoffman, in a very biting tone speak against

this type of director as one who does not know his calling or his portfolio as an

interpreter. Because, if indeed he is an interpreter, then absolute reliance on, and

step-by- step following of the playwright's views, nearly entirely compromise his

position, or office, or profession. Cameron and Hoffman remind such a director

that "the playwright is only a novelist who chooses to work extensively on

dialogue."

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The second type of director is the one referred to as the 'Auteur director, meaning

the author-director. This is the type of director who picks up a script, relates with it

meaningfully to the extent of using the script as a raw material for creation. This

director remains fluid and independent enough, and in a creative spirit of readiness

to contribute additions or subtractions to the script, he does not hesitate in doing so

in an attempt to enforce or enhance the vision intended for communication.

This director does not worship the playwright; no matter how much a genius he is

(if there is one of the sort). He may agree or disagree with him; he may accept

some of his instructions, or none of it. He maps out a production script from the

playwright's script, which he critically and intelligently translates onto the stage

floor in the process of birthing a performance.

Some pro-traditional critics quarrel over the functioning of the auteur-director in

this might. Among several of their accusations, they argue that he mutilates the

playwright's work and his vision, all in the process and project of exhibiting his

outlandish ego. But this is not true, because directing as an independent art form

demands that the director sees far beyond the fringes of the playwright. It demands

that he sees independently, critically and sub-textually. Because the playwright

should have done his job within his ambience and in the context of his genre, and

that ended when he put the last full stop to the script. The director's job has only

just begun on a different type of genre and in a different environment with a

different set of tools. For God's sake and for professional respect sake, he has every

license to execute his task effectively to register an acceptable level of success.

Summarizing the approach of the auteur-director, Milly Barranger (1991: 94))

writes that

actors, directors and designers are often treated as servants

to the directors' concept and expected to deliver the "look"

and "meaning" of the play's world as specified by the

director.

Though Barranger sounds sarcastic, this is truly the way it is. The director may not

"treat" other artistes in the production team as "servants, but rather as collaborators.

Interestingly, Milly Barranger (1991:94 writes on a third type of director who is

like the reverse of the auteur and becomes the servant or coordinator of a

group of actors, thereby de-emphasizing his vision of the play and rather opening

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up himself much more to the "suggestions, criticisms and encouragements of the

group." This type of director is the collaborative type and perhaps Barranger

(1991:98) is most apt in the tenet of collaboration:

This organic method involves director and actors working

together in rehearsals to develop movement, gestures, character

relationships, stage images and line interpretations. Rather than

entering the rehearsal period with entirely preset ideas, the

director watches, listens, suggests, and selects as the actors

rehearse the play.

The famous German playwright and director, Bertolt Brecht (1898-1956) is

reputed to have had this approach as his major style of going about the stage stuff.

The collaborative approach has been identified mostly with experimentalists. The

likes of Peter Brook, Richard Schechner, Eugene Barbara, Joseph Chaikin and

Johnny Papp, to mention but a few of them, function collaboratively.

But while Don Taylor (1997:27-39) agrees that there are three major types of

directors; he nonetheless classifies them differently, with slightly dissimilar

portfolios. These three he identifies as the text director, the transformational

director, and the auteur director.

The text director has deep respect for the playwright, and, when directing, he

conveys the playwright's intentions as powerfully and richly as possible. The

transformational director uses the script as a material as "something he can take

and use to make a particular statement."The transformational director is one who

takes the most imaginative liberties with the text."

The auteur is the one who takes responsibility for the entire creative process. This

director "downgrades the playwright; "and, if he exists at all, is a mere element in

the creative team." Auteur directing is characterized by less interest in words, but

more in "movement, mime and informal expressive dance.

In sum, while the text director burrows deeply into the playwright's world, his

transformational counterpart releases his imagination loose, starting with the text

before him. And the auteur discards the script in the creation of a "non-rational,

non- argumentative dramatic situation in a language that is predominantly physical

expressive movement, mime and music with very little verbal content."

In matters of scholarship therefore, when the types of directors are the issue, it

would matter (for clarity) that the authorities behind the classifications be

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mentioned in connection with their preferences for avoidance of confusion. For, it

would seem from the above discourse, for example, that Taylor' transformational

director is Barrangers auteur, while Barranger's near text-less collaborator is

Taylor's auteur. Perhaps in future research, that is, if the freedom of style, form and

technique attribute of the present theatre would have been re-baptised into some

form of accepted conventional categorization, some unified agreement and

parlances might have been framed.

However, the interpretative director in constant reference and perspective, shares

tenets with Taylor's transformational director and Barranger's auteur. Though, as

Taylor observes, and this is very true, "all directors have some degree of all three

in their nature."

Functions of a Director

The director is an artist, leader, communicator, administrator, critic, interpreter and

designer. He is a critic because the very art of interpreting is criticism. He

interprets the playwright ideas and thus, he is being Critical of what the playwright

has done. He has the freedom and authority to juggle with the language of the

playwright. His functions as critic and interpreter go side by side. He is analyzing a

play assessing the material thus raising the worth of the material. He is a leader

because he is at the head of an organization made up of production staff and must

possess qualities of leadership. He should invite and motivate them. The leadership

attributes of a director can be categorized into democratic and liberal. Director has

come to earn the names tyrant, dictator and autocratic because of his insistence to

have the things done his own ways. All other aspects of production must take

shape according to the Director's concept. The Director does not allow actors and

actresses to wonder about and do what they wish. He allows freedom but a limited

type. The Director himself limits himself by defining a concept and everything

must be directed towards that concept. The Director is a communicator because the

art of directing is the act of communicating effectively and powerfully. He must

appeal to the auditory sense, which must go out of the physical sense. He should be

aware of the mood of the moment to interact well with his staff. He gives artistic,

creative and aesthetic leadership in the theatre. He becomes a model for others to

follow.

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The business of directing is designing which is translation of abstractions. The

Director gives to an airy a local habitation and a name. From blocking a play, you

have started designing movement, costume and set. Everything is a complex design

involving other designs, costume is moving scenery. Directing starts with a floor

plan, which is a group plan of the layout of the properties and playing area. The

way things are laid out on stage might differ from the playing area. The way things

are laid out on stage might determine the inner dynamics of the play. A Director is

a super designer.

ESSENTIAL READINGS

1. The Art of Interpretative Directing-Effiong Johnson

2. Introduction to practical theatre -Kplentan Augustine& Ayuba Patience

3. Fundamentals of Theatre Art -Hameed Olutobi Lawal

4. Exploring Theatre -Nancy Prince&Jeanie Jackson

COMPULSORY READINGS

i. Wole soyinka’s “Trails of Brother Jero”

ii. Sunnie Ododo’s “Hard Choice”

iii. Fidelis Okoro “Prof Zemzi’s Last Rehearsal ”

iv. Samuel beckett “Waiting For Godot”