Community Theater Green Room Discussion Board: psychology of directing

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Andrea T
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Topic: psychology of directing
Posted: 5/15/04 at 3:53am

are there amy books out there about the psychology of directing? for example, where on the stage a dramatic scene should be played, or a comedic, or a romantic one. I know i have heard of books on this, but i dont know of any specific ones. If anyone knows, or has any tips on the subject, please let me know! thank you!

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Linda
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Posted: 5/15/04 at 8:08am

I use to have a book years and years ago when I first started directing. I will look through my old things and may be able to come up with a title for you. I might have thrown it out. All I can remember is "love scenes: down stage left (or was that right?)." I read it. Tried it. It didn't work for me at all. I gave it a good shot, but found it very limiting. Besides that, it made my set designer want to shoot me. I haven't used or thought about it since.

Linda

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Doug
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Posted: 5/15/04 at 11:01am

First let me start off by agreeing with Linda - the texts have all the rules but things get in the way - like the set.

Here are a few of my rules: Stay away from spending a lot of time upstage - the audience gets disconnected. Down Right or Left is good for intimate dialog. Make sure your most dramatic moments are downstage. The direction of movement on a line is important too.

Here are three college texts that will help you - in my order of preference: (All of these - at least my editions of them - were written decades ago.) (Remember they are text books and not too exciting to read.) (I might also mention that most of the examples these books give are on classical style stage sets - a couple of ramps, columns and boxes.)

Fundamentals of Play Directing by Dean and Carra

The Craft of Play Directing by Curtis Canfield

Play Direction by John Dietrich.

Hope this helps

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Linda
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Posted: 5/15/04 at 3:58pm

Looked for the book on the psychology of directing. Didn't find it. Did find a dog earred and well loved copy of on the Fundamentals Directing though!

Linda

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Mike Polo
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Posted: 5/18/04 at 5:11pm

I agree with Doug and Linda... downstage is best for important scenes. Try not to get caught up in locating a scene on the stage based on a text. I've seen shows where the director attempts this and ends up with some truly awkward looking blocking. I prefer movement on the stage that is natural and has a purpose. Movement should happen for a reason, whether it's an actor's emotion or a need spelled out in a script. Movement for the sake of movement is awkward and can lessen the impact of a scene. An actor who is angry, for instance, would not walk away from the person he is angry at... at least not until he has to, in order to get control of his emotions. In an intimate scene, taking a step back lessens the intimacy. Much of what an actor adds to a director's blocking is body language... make sure the body language, the blocking and the emotion are in sync.

Mike Polo
Community Theater Green Room
http://www.communitytheater.org

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Keith Dixon
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Posted: 8/24/04 at 2:23pm

This posting may be way late, but... here you go.

Along those same lines. Working with your scene and lighting designers will allow you to create an environment condusive to the movement of the play. Do you have enough acting areas? Are there enough obstacles on the set and are they in the right place? Is key action (which the script indicates should occur at a door) stiffled because you have a door parallel upstage as apposed to a more effective angle? (I know. A very convoluted question!)

These things can be worked out in production meetings and early rehearsals. As for reading materials, I've found a great resource in Michael Bloom's "Thinking Like a Director." Bloom is the Directing Head at UT Austin. Many of his ideas stem from his work in professional theatre, but it is amazing how they can be applied to community theatre with wonderful results. Case in point: In a recent production of "...Cuckoo's Nest" I spent the first week and a half of rehearsal around a table. We talked about the play, about moments; we worked scenes without movement, so by the time we got the show on its feet, my cast knew their character's motivations and intentions. It made for easier blocking because they already knew the whys that so many community actors don't discover until late in the process. By not focusing on movement early on in reheasals, though, you as director MUST (I can't stress this enough!) MUST know the play inside and out. You must do your homework before casting. As I look at it, if I do the research and legwork before rehearsals, then I also get to let go and enjoy the process, and not spend all my energy trying to keep one step ahead of my actors. It doesn't mean I have all the answers; it just means I've done the work.

Okay, I've rambled enough for now!

Thanks

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Author	Message
Andrea T Lead Joined: 4/24/04 Location: United States Online Status: Offline Posts: 39	Topic: psychology of directing Posted: 5/15/04 at 3:53am
	are there amy books out there about the psychology of directing? for example, where on the stage a dramatic scene should be played, or a comedic, or a romantic one. I know i have heard of books on this, but i dont know of any specific ones. If anyone knows, or has any tips on the subject, please let me know! thank you!

	IP Logged

Linda Lead Joined: 2/09/04 Location: United States Online Status: Offline Posts: 29	Posted: 5/15/04 at 8:08am
	I use to have a book years and years ago when I first started directing. I will look through my old things and may be able to come up with a title for you. I might have thrown it out. All I can remember is "love scenes: down stage left (or was that right?)." I read it. Tried it. It didn't work for me at all. I gave it a good shot, but found it very limiting. Besides that, it made my set designer want to shoot me. I haven't used or thought about it since. Linda
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Doug Celebrity Joined: 2/03/04 Location: United States Online Status: Offline Posts: 119	Posted: 5/15/04 at 11:01am
	First let me start off by agreeing with Linda - the texts have all the rules but things get in the way - like the set. Here are a few of my rules: Stay away from spending a lot of time upstage - the audience gets disconnected. Down Right or Left is good for intimate dialog. Make sure your most dramatic moments are downstage. The direction of movement on a line is important too. Here are three college texts that will help you - in my order of preference: (All of these - at least my editions of them - were written decades ago.) (Remember they are text books and not too exciting to read.) (I might also mention that most of the examples these books give are on classical style stage sets - a couple of ramps, columns and boxes.) Fundamentals of Play Directing by Dean and Carra The Craft of Play Directing by Curtis Canfield Play Direction by John Dietrich. Hope this helps
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Linda Lead Joined: 2/09/04 Location: United States Online Status: Offline Posts: 29	Posted: 5/15/04 at 3:58pm
	Looked for the book on the psychology of directing. Didn't find it. Did find a dog earred and well loved copy of on the Fundamentals Directing though! Linda
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Mike Polo Admin Group Community Theater Green Room Joined: 2/01/04 Location: United States Online Status: Offline Posts: 286	Posted: 5/18/04 at 5:11pm
	I agree with Doug and Linda... downstage is best for important scenes. Try not to get caught up in locating a scene on the stage based on a text. I've seen shows where the director attempts this and ends up with some truly awkward looking blocking. I prefer movement on the stage that is natural and has a purpose. Movement should happen for a reason, whether it's an actor's emotion or a need spelled out in a script. Movement for the sake of movement is awkward and can lessen the impact of a scene. An actor who is angry, for instance, would not walk away from the person he is angry at... at least not until he has to, in order to get control of his emotions. In an intimate scene, taking a step back lessens the intimacy. Much of what an actor adds to a director's blocking is body language... make sure the body language, the blocking and the emotion are in sync.
	Mike Polo Community Theater Green Room http://www.communitytheater.org
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Keith Dixon Guest	Posted: 8/24/04 at 2:23pm
	This posting may be way late, but... here you go. Along those same lines. Working with your scene and lighting designers will allow you to create an environment condusive to the movement of the play. Do you have enough acting areas? Are there enough obstacles on the set and are they in the right place? Is key action (which the script indicates should occur at a door) stiffled because you have a door parallel upstage as apposed to a more effective angle? (I know. A very convoluted question!) These things can be worked out in production meetings and early rehearsals. As for reading materials, I've found a great resource in Michael Bloom's "Thinking Like a Director." Bloom is the Directing Head at UT Austin. Many of his ideas stem from his work in professional theatre, but it is amazing how they can be applied to community theatre with wonderful results. Case in point: In a recent production of "...Cuckoo's Nest" I spent the first week and a half of rehearsal around a table. We talked about the play, about moments; we worked scenes without movement, so by the time we got the show on its feet, my cast knew their character's motivations and intentions. It made for easier blocking because they already knew the whys that so many community actors don't discover until late in the process. By not focusing on movement early on in reheasals, though, you as director MUST (I can't stress this enough!) MUST know the play inside and out. You must do your homework before casting. As I look at it, if I do the research and legwork before rehearsals, then I also get to let go and enjoy the process, and not spend all my energy trying to keep one step ahead of my actors. It doesn't mean I have all the answers; it just means I've done the work. Okay, I've rambled enough for now! Thanks
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Topic: psychology of directing( Topic Closed)