*
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
*
* 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
*
* Physical relationships play a critical role in
establishing strong emotional and psychological
reactions in the audience
* Different parts of the stage have different
properties
*
Which positions onstage are most dynamic?
*
When the position of one actor forces
another actor to turn upstage in order
to engage in conversation.
AVOID UPSTAGING.
BODY POSITIONS
* Distance
* Levels
* Stage placement
* Proximity to scenery
* Crowds
* Isolation
* Time…related to distance
*
* Actions are not activities
* Actions require motivation
* What do the characters want in the scene?
How can this best be expressed in blocking?
*
* How does the director focus the action on a
particular character?
*
*
*
*
*
* Defined by dialogue and physical relationships
* Analyze the relationships and enhance them
onstage
1.
2.
3.
How do characters move?
4.
Explore characters spatial relationships
Do they touch? Or not?
Are they elegant like dancers? Or awkward like
thugs?
* 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
* 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
* Sighlines are the view each audience member
has of the stage
* Directors can help in staging is they have a
model to work from
* Composition
* Picturization
* Balance
* Proportion
* Variety
* Beauty
The totality of what the audience sees from their seats. Ideal stage
pictures are unified, aesthetically pleasing and revelatory.
Balance
Does this composition tell a story?
Discovery?
OR
Planned?
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.
* 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
* 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
* 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
1.
2.
3.
4.
5.
6.
7.
8.
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
Blocking notes
Devise a system that
works for you and the
play you are working
on
See textbook, page 133
* Chapter 13 addresses variations to proscenium
stages including thrust, arena and in-the-round
(pp137-141)
* Remember that SIGHTLINES are always shifting
in non-proscenium spaces and that your
blocking needs to provide appropriate variety
1. Remember where the audience is
seated
2. Be aware of the sightlines
3. Create organic action
4. Entrances and exits
5. Scene changes