Directing I
Fall 2012
Instructor - Doug Finlayson
Class: T, Th 1-2:20
Office: Room 39
Office Phone: 968-6935
E-Mail: finlaydo@webster.edu
Course Syllabus
LEARNING OUTCOMES:
The student will:
Demonstrate through work on the play A MEMBER OF THE WEDDING that they can;
Analyze a script for Given Circumstances, Character and Meaning;
Break a play down into structural units;
Create an approach to communicating with actors, technicians and designers;
Compile a research packet that supplements the analytical work on the play;
Demonstrate the skills of visual storytelling through in class projects and a final scene;
Engage in an oral discussion of The Empty Space, by Peter Brook;
Demonstrate ensemble-building skills through group projects.
TEXTS:
The Empty Space
By Peter Brook
A MEMBER OF THE WEDDING (Webster Bookstore)
By Carson McCullers
CASTING
A MEMBER OF THE WEDDING scenes will be cast from your classmates by the instructor.
REQUIREMENTS:
1.
PRE-PRODUCTION WORK - A MEMBER OF THE WEDDING (See attached sheet)
SCRIPT EXPLORATION (Typed)
Grade – 20%
DRAMATIC ACTION (Units & Titles)
Grade – 10%
PROMPT BOOK/RESEARCH
Grade – 15%
If the Pre-Production work is not complete, you will not receive credit for the scene.
2. PRESENTATION OF A SCENE -A MEMBER OF THE WEDDING
5-8 minutes maximum!
4 hours of rehearsal minimum
Grade - 20%
3. LIBRARY PROJECT COLLABORATION
Library research project for A MEMBER OF THE WEDDING.
Grade - 5%
4. STAGING EXERCISE
Grade - 10%
Choose a scene from any play (other than A MEMBER OF THE WEDDING) with 3-5 characters.
5. PICTURIZATION EXERCISE
Grade - 10%
Choose a scene from any play (other than A MEMBER OF THE WEDDING) with 3-10 characters.
6. EMPTY SPACE DISCUSSION
Grade – 5%
7. PREPARATION AND PARTICIPATION IN CLASS
Grade - 5%
DIRECTING III and IV
Directing III and IV are designed for the advanced study of directing, including the history of directing,
conceptualization, working with designers and the process of rehearsal. There are limited resources in producing ETS
so these classes have limited seats (directing majors are required to take these classes).
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CALENDAR - DIRECTING I
(Calendar subject to change)
August
Tue. 21
WEEK ONE
Class expectations. What is Directing? Silence Exercise
ASSIGNMENT - Read A MEMBER OF THE WEDDING
Thur. 23
Silence Exercise (cont.)
Tue. 28
WEEK TWO
Script Exploration: Given Circumstances & Dramatic Action – Bring
A MEMBER OF THE WEDDING
DUE: A MEMBER OF THE WEDDING NEEDS TO BE READ
Thu. 30
September
Tue. 4
Thu. 6
Tue. 11
Thu. 13
Tue. 18
Dramatic Action & Beats – Discuss and stage 2 units from MEMBER OF THE WEDDING
WEEK THREE
Creating a Promptbook/Discussion of Directing Research
ASSIGNMENT – Begin Script Exploration for A MEMBER OF THE WEDDING
Library Research Project for A MEMBER OF THE WEDDING
ASSIGNMENT – Meet with your Research Group members to organize a
presentation of your information for the following class.
WEEK FOUR
Research Presentation
ASSIGNMENT – Read Staging Handout.
Discuss Staging Handout/Creating a Dynamic Ground Plan
ASSIGNMENT – Prepare for Staging Exercise - Select a play with 3-5
characters (other than A MEMBER OF THE WEDDING). Pick a page from that
play, create Ground Plan, choose actors and create blocking for the scene to be
shown in class. No rehearsal outside of class is necessary.
WEEK FIVE
Ground Plan - Create a Ground Plan for A MEMBER OF THE WEDDING
NEEDED: • Bring 1/4” graph paper, ruler, scissors and pencil to class.
We will make cut outs of the set pieces and furniture to move around on
the Ground Plan.
Thu. 20
Tue. 25
Work staging on A/B Scene in class (the scene will be provided)
ASSIGNMENT – Begin reading EMPTY SPACE. Be prepared for in-class
discussion.
WEEK SIX
Bodies in Motion: Staging Exercises (these are the short scenes chosen by the
student – (something other than A MEMBER OF THE WEDDING)
DUE: STAGING EXERCISES BEGIN
THE CHILDREN’S HOUR - Wednesday September 26
Thu. 27
Staging Exercises
Tue. 2
WEEK SEVEN
Staging Exercises
October
2
Webster Works Worldwide – October 3
Thu. 4
Staging Exercises
Tue. 9
WEEK EIGHT
Staging Exercises
DUE: Written work for A MEMBER OF THE WEDDING
• GIVEN CIRCUMSTANCES
See the attached requirements
• RESEARCH (Library Project and Additional Materials)
• PROMPTBOOK & DRAMATIC ACTION
• Script with Units Indicated and Titled
• Ground Plan with Pre-blocking for the Scene
• Prop list & Rehearsal Schedule
Thu. 11
Staging Exercises/Discuss Composition, Picturization & Object Use
ASSIGNMENT –Prepare for the Picturization Exercise - Select a play with
3 or more characters (not A MEMBER OF THE WEDDING). Select a dynamic
moment from that play and come prepared to stage a picture (with props) for that
picture. Be prepared to discuss the elements of composition that are employed in
the picture.
MID SEMESTER BREAK - OCTOBER 15-19
Tue. 23
WEEK NINE
Discuss Composition, Picturization & Object Use – Defining the Picture
Thu. 25
Picturization Exercise (6-8 per class)
DUE: PICTURIZATION EXERCISES BEGIN
Tue. 30
November
Thu. 1
WEEK TEN
Picturization Exercise
Picturization Exercise
ASSIGNMENT – Bring a prop that has importance in your Glass Menagerie
scene and using classmates, demonstrate how that object reveals character through
behavior.
Tue. 6
WEEK ELEVEN
Articulating character through behavior
Thu. 8
Discuss EMPTY SPACE
DUE: BE PREPARED TO DISCUSS EMPTY SPACE
Tue. 13
WEEK TWELVE
Rehearse A MEMBER OF THE WEDDING – Find space to work
A MIDSUMMER NIGHT’S DREAM - Wednesday November 14
Thu. 15
Trial Scene A MEMBER OF THE WEDDING
DUE: TRIAL A MEMBER OF THE WEDDING TRIAL
PRESENTATIONS BEGIN
Tue. 20
WEEK THIRTEEN
Trial Scene A MEMBER OF THE WEDDING
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Thu. 22
NO CLASS/THANKSGIVING
Tue. 27
WEEK FOURTEEN
Trial Scene A MEMBER OF THE WEDDING
YOURS, ANNE - Wednesday November 28
Thu. 29
December
Tue. 4
Trial Scene A MEMBER OF THE WEDDING
WEEK FIFTEEN
A MEMBER OF THE WEDDING Final Presentation
DUE: FINAL A MEMBER OF THE WEDDING SCENES BEGIN
Thu. 6
A MEMBER OF THE WEDDING Final Presentation
WEEK SIXTEEN
NO CLASS/Showings
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Pre-Production
I. Given Circumstances
Support this section with direct quotes from the dialogue
A. Environmental facts
• Where and When: Geographical,
Date. Any tidbit that talks about
the world in which this play
takes place
• Economic environment
• Political environment
• Social environment
• Spiritual environment
• Relationships
TIPS: Think of this as writing out a “script” for how you will
talk about the text with actors in rehearsal.
When you have a disagreement with an actor, you keep the
conversation focused on the play and not personal opinion when
you can back it up with a quote.
75% of your analysis will be done in Environmental Facts.
In your analysis, always tie your Environmental facts back to what the characters are
trying to do to one another. The text is action. So if a character is saying something they
are acting upon another character.
B. Previous action - List Main Points of Action that have occurred before the play begins.
C. Polar attitudes of the principal characters (The character’s world view/attitude at the
beginning of the play and then their attitude at the end of the play - think “journey”).
II. Character
Address each character (Use these as a starting point)
A. Objective (characters in your scene)
a. Scene Objective
b. Super Objective (overall objective for the play)
B. Obstacles standing in the characters’ way
C. Five (5) quotes that say something about the character’s in your scene (Five for each
character in the scene)
D. Physical Description – Describe in your own words what this character is like. (as you
see them).
E. Create a Dream Cast – Cast your play from professional stage and film actors (them
must be living). Provide photos of your dream cast for each role.
III. Idea
A. Meaning of the title
B. Philosophical statements in the play – Find a quote the playwright has a character say in
the play that captures what the author thinks the plays is about.
C. In a sentence, what does the play mean to you – in your own words. Not plot. Be brief
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RESEARCH
I. Review(s) – Find reviews of the original production and notable remounts. If there are no
reviews on the play, look for writing about the author’s other work.
II. Critical writing on the work and author
Essays, articles, books, dissertations on the play (older more established works will have
more, but always dig deep).
III. The era in which the play was written and in which it is set
(Ex: GHOSTS - Victorian society; NORMAL HEART – AIDS in the 80’s)
IV. Political, social and economic issues
(Ex: ALL MY SONS - War and economics; THE CRIPPLE OF INISHMAAN – Ireland in
the Depression)
V. Fashion, traditions and manners
(Ex: LADY WINDERMERE’S FAN)
Era/Historical Context
Manners
Fashion (Images
Traditions
Economics
Social issues
VISUAL RESEARCH
I. Literal images (ex: the play takes place in a farmhouse, provide images of farmhouses).
II Abstract Images – find dynamic artwork that inspires you. Include these images in your
promptbook:
PROMPTBOOK/DRAMATIC ACTION
I. Promptbook
A. Pre-blocking:
• Indicate your pre-blocking with arrows on small ground plans opposite of your
text.
• Below the Ground Plan, describe in simple sentences
what the arrows indicate and number each movement in your script.
B. Properties List - Keep in mind the power objects have to
articulate character through action!
C. Rehearsal schedule - Describe how you would use 12 hours
of rehearsal (Ex: 2 Hrs. Read Through/Discussion; 2 Hrs. Stage Pgs. 1-15;
2 Hrs. Explore character relationships)
D. Organization, Visuals and Creativity – Spend time making this book a place you enjoy
visiting. Use visuals and drawings and quotes to create a safety net for
yourself when you get off track in rehearsals.
II. Dramatic Action
A. Identify and Title the Units in your Promptbook. Make these titles active.
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DIRECTING I: SCENE EVALUATION
DIRECTOR:
SCENE
GROUND PLAN
Strong Use of Diagonals, creating the “X”
1
2
3
4
5
6
7
8
9
10
1
2
3
4
5
6
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10
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2
3
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10
2
3
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9
10
Imaginative Use of Upstage
and Downstage R & L
Creative playground and obstacle course,
ability to move around furniture/objects
COMPOSITION TOOLS
Use of Depth/Levels
1
(Actors should be on diagonals, should be in varied heights/levels)
Use of Pictures to clarify relationships (allegiance,
power, comfort, etc.)
1
2
3
4
5
6
7
8
9
10
2
3
4
5
6
7
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10
1
2
3
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10
1
2
3
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10
3
4
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6
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10
3
4
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6
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10
STAGING TOOLS
Movement
Elimination of profile and other technical concerns
(upstaging, movement not on the diagonal.)
1
Clear character motivation in the movement
Cause and effect, chess game
Clear sense of Power/“who’s doing what to whom”
1
2
Object Use
Revelation of character through object/costume use
1
2
TOTAL POINTS
Comments:
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