As a technical director, myself, speaking from the other side of the fence.  I would be sure you know what the set will look like  as well. (given that there is one)

I recently worked with a director who ignored everything I told her.(some changes just had to be made due to space and what not) The actors ended up changing blocking a week before the show! It was extremely hard on all of us, especially the actors! 

Being in contact with your set designer/builder I think is very important.

May not be the advice you were looking for, but something to keep in mind non the less.

Good Luck!

Although I know a few things ahead of time I ussually don't have it pre-blocked.  The reason being that I want the actors to be part of it aswell.  I want to see what they naturally do on stage.  And then I will change it and fix things after the first few rehearsals.

I like to give the actors the chance to find things themselves and also - for me - it's a lot easier to work with real people than to try and envision it all beforehand.

So for a newbie I would say - try to block it ahead of time to see if that works for you but be flexible and trust your actor's instincts as well.

I guess that I am luckier than most, but I thoroughly agree with Aimee and Nria. I say I am luckier in that I design the sets and lighting schemes for the show that I direct, so I know what my limitations are ahead of time.

From my experience, I have found that there are basically three approaches to blocking (with a number of variations):

• No plan - panic
• Plan every little movement and gesture
• Plan in generalities

Personally, I fall mainly in the "plan in generalities". I try to foster a sense of ownership in the play by letting the actors be creative - within limits. One of the phrases I have adopted over the years is "use the stage". By that I mean that an actor should move on the stage much as they would move in real life. (And yes it is okay to move and talk at the same time) Otherwise it can look like talking heads on stage.

Knowing what the set will look like always helps with your planning.

Know what the set will be like first to stage.

You can work in advance on character development and know what you really want. 

Outside of that give the actors some freedom/within limits (I agree ChuckK6)

Trust your instincts.

Blocking is an extension of the play.  Where do the actors move about the stage as they say their lines.  When I direct, I usually read the script about a zillion times, hearing the voices of the charactors, and the look for the feelings of the words being said... And once I know what the stage is going to look like in my head, I block.  I take a pencil and go through the script again.... Character A... Moves down right to table.... Character B.... folds his hands and stands on his head as they say...   But most is just general blocking, and I always look for a reason why the Character is moving from point A to Point B.   Perhaps the Characer forgot to pick up something from the table and needs to get it now... or Characer A, just said something to Character B, that forces Characer B to make a move either towards or away from Character A...

When and if you know what the scene is about, the Blocking generally flows from the mind to the written page and to the stage...

I do try to give the actors as much leeway as possible, but sometimes, as we go through rehearsal, I'll see something that if they moved a certain way, or went for the chair or sat a certain point, would help in the drama of the scene.   And sometimes I just sit and watch my actors, as they are already doing exactly what I want the scene to do, and they are moving instinctively and in tune with the scene presented...

The other thing you have to remember is you as the director are not only setting the scene, its tone, but also the stage pictures, what do you want the scene to look like visually?    At the height of the scene, where do you want everybody to be:?  How much weight on one side of the stage do you want?  Where do you want your actors to be on stage when the climax comes? 

I hope this helps in the disscussion.

Steve C

Dear Director-

It looks like you have a lot of time to go over the script and get a "feel" for how you want the show to flow thematicly and with active movement. Come rehearsal time you will discover that things are going to change quickly- Set design changes or stage limitations (In your case being 55+ Actor movement limitations) The idea is to have an "idea"...a vision as to how you want your characters to interact and move based on the script. Let the story in the script be your guide.

I like to position the actors at the beginning of the scene, and then let them kick the tires and move as they see necessary. I then just guide their focus and intension (not attention) of their movement. We move for a reason, in life and on stage and thus movement needs to flow with the intension and objectives of the character and scene. I move away from this person because they are threatening.....or I want to be close to this person because they need my support. All these are things you can think about now- Jot down in your directors script, and implement as your show develops

  I hope someone is still following this thread. 

  My blocking philosophy is as follows:  As the director reads the script he/she will visualize certain "stage pictures" in his mind at key points in the show - at least one or two per scene and probably more.  These are mental images of just how he wants the actors on stage to be placed at a particular point in the show. I will even sketch in the margin of the script (in pencil) so that I remember.

Now, blocking is what you must do to get all of the actors from "stage picture" #1 to "stage picture" #2 and so forth. By starting out this way, you can allow your actors the freedom to help devise ways to get from 1 to 2. They just have to know where they were and where they are headed.  This method has really helped me organize my blocking by giving me numerous way-points along the path.

I block every single movement in my junior high play (you have to teach them to use their imaginations).  By the time they get to high school I put them into positions for stage pictures, but I generally let them work out the poses.  I do it like dot-to-dot.  I go through the script and put a star next to lines where I think we should have a stage picture--the moments that reach out and grab at you).  Every French scene of at least 2 pages in length should have at least three.  Then I use the motivations from the lines and actions of the characters to move them from one place to another.  Usually it takes three to ten blocking directions to move from one stage picture to the next.  NOTE:  Never have an actor move unless you would be able to tell him why he is moving.

When I was first developing my blocking skills, I would depend on my visual thinkers in my cast to help me out.  I'd get the kids to a stage picture, have them freeze, and then have the visual thinker step out and try to improve it.  In subsequent years I'd have them help choreograph songs (and we're not allowed to do traditional "dance" on stage at my school). 

Go watch theatre of good visual directors!  Go see anything you can.  Pay attention, draw sketches of stage pictures that interest you, take notes during intermission and after the show about what worked and how you could use it in the future.

I have a book at home that's red.  It's called _A Primer of Stage Directing_.  It's really old, and probably out of print.  It's was published by Samuel French in the 30's or 40's.  It's a very, very good book.  Try looking in bookstores in college towns.  When professors retire, they tend (or their wive's tend) to donate their old books connected with their profession.  I've found some excellent old text books that teach the basics in easy-to-understand language that way.

Never show up to a rehearsal without some idea about what you are doing with blocking. We usually start a blocking rehearsal by having the actors gather around my desk.  I give them their blocking notes for a French scene or two, and then they run the scene with their blocking.  I like to run it twice and then move on, but sometimes we only have time to run it once.   We also set up a second area so actors who are waiting to work with me can review their lines and blocking on a stage with the right dimensions.  I know most people don't have this luxury, but even setting up a partial stage in a lobby or foyer can help jittery actors.

I have my students number the lines in their scripts, starting with the first line at the top of the page (even if it is just a continuation of the line at the bottom of the previous page).  Then, when I give blocking, I say, "Line 3 at the beginning, Mortimer crosses stage left above the couch and turns 1/4L, leaning in a pose on the back of the couch."

For keeping track of it in some semblance of order, check out stage management books on how to set up a prompt book.  Every book also has a section on blocking notation.  If you go on line, you can download the way dancers notate blocking.  This is more complex, but can say so much in such a small space.