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Staging Rehearsals

Staging Rehearsals. Chapter Twelve. THE choreography of movement of the actors established by the director or actors It defines the actor’s relationship with the set, props, furniture, entrances and exits and the ensemble Methods of staging vary from director to director. BLOCKING.

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Staging Rehearsals

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  1. Staging Rehearsals Chapter Twelve

  2. THE choreography of movement of the actors established by the director or actors • It defines the actor’s relationship with the set, props, furniture, entrances and exits and the ensemble • Methods of staging vary from director to director BLOCKING

  3. Discover or identify what is true and important about each moment and allow that to influence movement choices • Good staging enhances the character relationships and conflicts, creates and releases tension and reflects the inner lives of the characters Successful blocking

  4. Physical relationships play a critical role in establishing strong emotional and psychological reactions in the audience • Different parts of the stage have different properties Dynamics

  5. Which positions onstage are most dynamic?

  6. UPSTAGING When the position of one actor forces another actor to turn upstage in order to engage in conversation. AVOID UPSTAGING.

  7. BODY POSITIONS

  8. Distance • Levels • Stage placement • Proximity to scenery • Crowds • Isolation • Time…related to distance Other dynamics

  9. Actions are not activities • Actions require motivation • What do the characters want in the scene? How can this best be expressed in blocking? ACTIONS (Objectives)

  10. How does the director focus the action on a particular character? FOCUS

  11. MASS

  12. LINE

  13. GROUPING

  14. LEVELS

  15. Studies from MISS JULIE

  16. Studies from MISS JULIE

  17. Studies from MISS JULIE

  18. Studies from MISS JULIE

  19. Defined by dialogue and physical relationships • Analyze the relationships and enhance them onstage • How do characters move? • Do they touch? Or not? • Are they elegant like dancers? Or awkward like thugs? • Explore characters spatial relationships RELATIONSHIPS

  20. RELATIONSHIPS

  21. Since conflict is the root of action, the staging must reflect the conflict in physical terms • Each scene should be treated as a conflict that is introduced and resolved • First analyze the conflict to understand it and then use it to drive the scene CONFLICTS

  22. Much is communicated when characters enter or exit • Consider placement of entrances and exits carefully and use them tactfully • Oftentimes, musicals challenge you with challenges of logic…seek to clarify place through consistency • Regardless, motivate entrances and exits ENTRANCES AND EXITS

  23. Sighlines are the view each audience member has of the stage • Directors can help in staging is they have a model to work from SIGHTLINES

  24. Composition • Picturization • Balance • Proportion • Variety • Beauty STAGE PICTURES

  25. The totality of what the audience sees from their seats. Ideal stage pictures are unified, aesthetically pleasing and revelatory.

  26. Balance

  27. Does this composition tell a story?

  28. Discovery? OR Planned? BLOCKING

  29. ORGANIC BLOCKING is truthful, believable and emerges naturally from the given circumstances of the moment and the relationship between the actors. If something is organic, it feels human and honest. In this method, actors are encouraged to move freely and “discover” what feels natural and organic. Director must guide the discoveries. Organic Blocking

  30. Improvisation is a great way to discover organic blocking

  31. Improvisation needs guidance

  32. Improvisation is helped by having a loose blocking outline that provides a structure for the improvisation • In this system, the director gives the actors a sense of the scene before they begin to improvise…plan key moments, entrances and exits, for example Blocking Outline

  33. After exploring through improvisation, the director sets the choices and the blocking is noted by the PSM • NOTE, this is only a blocking technique…it should not be used for performance UNLESS it is an IMPROV show • Once blocking is “set” it affects the work of the other collaborators • For discussion, see the text, page 129-130 Setting the scene

  34. Read and be familiar with the scene • Make an outline of the scene’s major actions • Visualize the setting (constult the groundplan and model) • Beat by beat, work your way through the scene • Record your blocking in your DPN The planned approach (Pre-blocking)

  35. Set the groundplan with rehearsal furniture • Explain the groundplan • Readthrough the scene • Discuss the main action • Place the actors in their places • Block, but allow actors choices for business • Once blocked, run the scene • Make any necessary changes Putting the scene on its feet

  36. Blocking Notation

  37. Blocking notes Devise a system that works for you and the play you are working on

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