Cambridge International AS & A Level Drama

2.2 S taging a text:The role of the director Big question • How do directors create a concept for staging the text?

Starting point:The role of the director Being a director involves different skills at different stages of the production process. A professional company usually works on a production for between four and six weeks. You will probably have longer than this for the scripted performance you create with your group.

The first step in the production process is for the director to meet with the design team and begin to describe his or her overarching vision for the text in performance. This central idea could be described as a ‘concept’ for the production. For example, you might describe a director’s production concept for Shakespeare’s play Hamlet as ‘death’.

In the next stage, the director holds early read-throughs with the actors and the lead designers for each production element. During the read-through, the production team discuss their initial ideas for the look and feel of the production with the actors. The designers might refer to mood boards, sketches, scale drawings and model boxes to bring the world of the play to life for the actors.

During the rehearsal and development stage, the company of actors works closely with the design team. Rehearsals might include sessions with a movement director, voice coach, fight specialist or live musicians.

In the final stage of the process of moving ‘from page to stage’, the director oversees the technical and dress rehearsals. The cast makes final preparations to ensure that staging is refined for performance. The director’s concept should now be visible on stage.

Activity 1

Key terms

Read the description of the director’s tasks on this page, then compile a table like the one below to organise these tasks into a timeline.

Week 1 / Date 1

2

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Task

Purpose

Meet with design team – set, costume, lighting and sound; explain concept for staging the text

Communicate vision to design team

production concept: the overarching idea for a production production element: a feature of the production, such as the set, lighting, sound and costumes mood board: a design board that contains lots of visual ideas scale drawing: a drawing that shows the design to scale, for example 1:50 model box: a small-scale threedimensional model of the stage space

Staging a text:The role of the director

Reflection point How can you apply your learning about the role of a professional director to your own work with your group: what might be the concept for your scripted piece? Try to identity the themes in your text and consider whether one of these might form the basis of the concept.

Explore: Developing characterisation skills One of the director’s main tasks is to help the actors bring dramatic characters to life. In some productions, the director will work alongside the playwright or a dramaturg to translate the text into a live performance.

Actors use a range of performance skills to create their characters. These skills can be broadly divided into two categories.

Physical skills Gesture, posture, facial expression Movement – quality, pace, tempo

Vocal skills Inflection, intonation, tone, emphasis Accent, dialect, speed, volume

To help actors to understand and develop the character’s backstory, a director might use some of the techniques of the Russian naturalistic director Constantin Stanislavski.

Spotlight on practitioner: Constantin Stanislavski (1863–1938) Known as one of the leading theatre practitioners of the 20th century, Stanislavski began his career as a character actor, but turned to directing out of concern at the superficial performance style of the time. His reputation rests on the development of a system for actor training and rehearsal technique, commonly known as ‘the system’.

In his system, an actor might be asked to consider the character’s super-objective. The actor might also be asked to map the character’s through-line so they can identify key moments in the character’s journey and analyse the motivations behind their actions.

In 1896, Stanislavski co-founded the Moscow Art Theatre. Over the following years, the company produced a series of plays written by the leading naturalistic playwrights of the time, including Henrik Ibsen (1828–1906) and Anton Chekhov (1860–1904). Stanislavski’s ideas have influenced many other practitioners and are still used by actors across the world.

‘Diagram of Stanislavski’s ‘system,’ based on his “Plan of Experiencing” (1935).

Activity 2 In small groups research one of Stanislavski’s key productions. Identify how production methods were used to create the world of the play.

Create a short presentation to share with the class. Remember to include references to the production methods used (set, lighting, costume, props, sound).

Key terms super-objective: the purpose which a character works towards during the play through-line: the journey of a character from the start to the end of the play

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Chapter 2 Performing from a text Using the following extract, you are going to try out some of Stanislavski’s techniques to develop the character of Puck from Shakespeare’s A Midsummer Night’s Dream.

Text 2 Enter PUCK PUCK Through the forest have I gone.

But Athenian found I none, On whose eyes I might approve This flower’s force in stirring love.

Night and silence.--Who is here?

Weeds of Athens he doth wear: This is he, my master said, Despised the Athenian maid; And here the maiden, sleeping sound, On the dank and dirty ground.

Pretty soul! she durst not lie Near this lack-love, this kill-courtesy.

Churl, upon thy eyes I throw All the power this charm doth owe.

When thou wakest, let love forbid Sleep his seat on thy eyelid: So awake when I am gone; From A Midsummer’s Night Dream For I must now to Oberon.

by William Shakespeare, Exit Act 2, Scene 2

Plot summary In the play, we are introduced to Puck, a fairy, and the jester and servant to Oberon, King of the Fairies. He is often mischievous, playing pranks on human characters.

In Text 2, Puck is searching for two young people from Athens who are wandering through the forest. He is seeking Helena and Demetrius, to carry out Oberon’s orders that magic be used to bring the two characters together. Unfortunately, he comes across the wrong pair, Hermia and Lysander.

Vocabulary Weeds of Athens: a reference to the clothes worn by people from Athens despised: Xxxxx dank: Xxxxx churl: Xxxxx

As a director working with the performer playing Puck, you would need to plan a series of activities to develop the physical and vocal characteristics of the quick-witted and mischievous fairy.

Activity 3 Work in pairs, with one of you as director and one as the performer playing Puck (swap roles afterwards so you each get a turn as the actor).

Explore the possibilities of the character’s movement, with the director instructing the actor to begin in a neutral posture.

• Ask your actor to imagine they are filling their body from the feet upwards with the physical shape of the character.

• Pause in the centre of the body to explore the character’s ‘centre of gravity’.

• Move upwards into the arms and hands, prompting them to be aware of the range of possible gestures.

• Move finally to the shoulders, neck and head and ask them to consider facial expression and posture.

• Now give them permission to experience the movement of their character.

Guide them around the room, adjusting pace and tempo.

One of Stanislavski’s key techniques for creating naturalism was to ask his actors to inhabit the wider world of the character, from before the beginning of the play into the world beyond it. To achieve this, Stanislavski developed a tool known as ‘the magic if ’. The actor asks themselves the question ‘what if?’ before a specific action. For example, what if 48

Activity 4 Consider what might happen to Puck if he did not carry out Oberon’s wishes.

Create a short improvised scene.

Remember to draw on the physical aspects of characterisation from Activity 3.

Staging a text:The role of the director Puck decided not to obey Oberon? By exploring the answer through improvisation, Stanislavski believed the actor could understand the emotions experienced and use them to enhance their performance.

Develop: Developing the ensemble One of the director’s most important jobs is the creation of the ensemble. The production style should be clearly visible in the work of the ensemble. It should also be clear that the ensemble understands the genre and structure of the text.

Key terms improvisation: movement and speech made up on the spot as an exercise to explore a character or object given circumstances: the specific conditions that characters find themselves in

To help achieve this, the director might draw on another of Stanislavski’s techniques by working with the ensemble to create the given circumstances of the scene. Here the actors consider the specific circumstances presented in the scene, including the impact of any events that have preceded it. This might include the time of day and the location.

The ensemble ask each other a series of questions, working as researchers to develop their understanding of the context of the scene.

Activity 5 Consider the given circumstances of the extract from A Midsummer Night’s Dream in Text 3 below.

• One student working as director should ask the actors to work in pairs. Give each pair a specific focus, e.g. location in the forest.

• Each pair should then devise five questions that can be used to explore the given circumstances, for example, what do you hear/see/ smell around you?

• The company should then re-form into different pairs, where one actor poses the question and their partner provides the answer in role.

Where appropriate, ask your actors to physically explore the space and begin to build an imaginative picture of the forest scene.

Text 3 LYSANDER [Awaking] And run through fire I will for thy sweet sake.

Transparent Helena! Nature shows art, That through thy bosom makes me see thy heart.

Where is Demetrius? O, how fit a word Is that vile name to perish on my sword!

HELENA Do not say so, Lysander; say not so What though he love your Hermia? Lord, what though?

Yet Hermia still loves you: then be content.

LYSANDER Content with Hermia! No; I do repent The tedious minutes I with her have spent.

Not Hermia but Helena I love: Who will not change a raven for a dove?

The will of man is by his reason sway’d; And reason says you are the worthier maid.

Things growing are not ripe until their season

Plot summary In Text 3, Helena and Lysander, the incorrect target of Puck’s magic, awaken in the forest. On waking, Lysander is overcome with feelings of love for Helena, vigorously exclaiming his new-found passion.

Given how fiercely Lysander had previously declared his love for Hermia, another young woman, Helena is understandably shocked.

Vocabulary Nature shows art: a reference to the Elizabethan idea that a person’s emotions were visible in their heart Change a raven for a dove: replace a less attractive bird with one considered to be beautiful

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Chapter 2 Performing from a text So I, being young, till now ripe not to reason; And touching now the point of human skill, Reason becomes the marshal to my will And leads me to your eyes, where I o’erlook Love’s stories written in love’s richest book.

HELENA Wherefore was I to this keen mockery born?

When at your hands did I deserve this scorn?

Is’t not enough, is’t not enough, young man, That I did never, no, nor never can, Deserve a sweet look from Demetrius’ eye, But you must flout my insufficiency?

Good troth, you do me wrong, good sooth, you do, In such disdainful manner me to woo.

But fare you well: perforce I must confess I thought you lord of more true gentleness.

O, that a lady, of one man refused.

Should of another therefore be abused!

Exit From A Midsummer’s Night Dream

by William Shakespeare, Act 2, Scene 2

Vocabulary Good troth… good sooth: Elizabethan exclamations related to the importance of truth in relationships despised: Xxxxx dank: Xxxxx churl: Xxxxx

Next the ensemble needs to develop a good understanding of the physical and vocal demands of the production style. From an early point in the rehearsal process, the director may bring the actors together for ensemble work, including movement work.

Spotlight on practitioner: Complicité Complicité is an international theatre company based in London. Founded in 1983 by Annabel Arden, Fiona Garden, Marcello Magni and Simon McBurney, the company began as a theatre collective. Over three decades, it has developed a unique approach to devising theatre that now has a global following. Each piece of work is created after a period of extensive research and as a result of collaboration with a range of artists, including visual artists, film-makers and dancers. The performances often feature dazzling use of lighting, projection and video, integrated with intricate ensemble choreography and powerful acting, resulting in a truly unique theatre experience.

Activity 6 Using Text 3 divide your company into two groups. One group should develop a physical language for the fairy characters and the other should work on the physicality of the young Athenians.

Use the shoaling (from shoal of fish) technique used by Complicité to develop a shape and rhythm for your group. The group should move closely together and form a triangular shape, with a leader identified at 50

Key term shoaling: moving together as a group

Staging a text:The role of the director the top of the triangle. The leader moves the group swiftly around the space, taking care to maintain its physical shape. The leader brings the group to a halt and then the group changes direction so that a new leader emerges and moves the group on. You can use music to create and alter the pace, and deliver a series of commands (e.g. softly) to alter the quality of the movement. Use physical levels to explore the qualities of movement when closer to the floor.

Once the physical shape of the group has been established, the ensemble can begin to develop choral movements together which will establish a group identity.

Apply: Focusing on a specific theatrical moment When shaping the production concept, a director will identify key moments in the drama as being critical for the process of communicating the interpretation. These key moments might focus on the journey of one character or might mark a transition point in the group narrative. In A Midsummer Night’s Dream, for example, you might identify the moment where Puck applies the fairy juice to the eyes of the wrong Athenian pair as being key to the journey towards the play’s denouement. The play’s key themes and ideas need to be clear in the way in which the moment is staged.

Key terms levels: divisions of the vertical space to create visual interest for an audience choral movements: simultaneous group movement of the actors group narrative: the story created by the group of performers for the audience denouement: the final moments in the drama, usually involving an element of either resolution or dramatic climax

Activity 7 Consider how you could communicate the key themes in A Midsummer’s Night’s Dream in Act 2, Scene 2. Copy and complete the following table to indicate how you might communicate these themes through your production methods. The examples make reference to the themes of light and dark in the forest.

Production methods Set Lighting Sound Performers

How will you communicate the key themes?

Use of large jagged stage flats to indicate the darkness of the forest Use forest gobos to create the imagery of the green forest Sound of flies swarming above a site of decay Fairy chorus move in a stylised sequence to create an atmosphere of insomnia and suggest a nightmarish world; likely to include elements of aerial work where the Athenian characters might be lifted from the floor and moved around by the fairies

Use of space Multi-media

Reflection point

Key terms

Work together as a group of performers to identify five lines from A Midsummer Night’s Dream which could be used to create a physical sequence that would bring the fairy kingdom to life.

stage flats: large pieces of scenery designed to frame the stage picture gobos: an insert or template placed inside or in front of a light source to control the shape of the light emitted

Evaluate the success of this piece by asking the following questions: • How clearly did you communicate the key themes?

• What kind of atmosphere did you create?

• Did the mood shift at all?

As director, how will you encourage your ensemble to provide feedback to one another?

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