Staging Rehearsals

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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. - PowerPoint PPT Presentation

Transcript of Staging Rehearsals

Staging Rehearsals

Chapter TwelveStaging RehearsalsBLOCKINGTHE choreography of movement of the actors established by the director or actorsIt defines the actors relationship with the set, props, furniture, entrances and exits and the ensembleMethods of staging vary from director to directorSuccessful blockingDiscover 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 charactersDynamicsPhysical 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?UPSTAGING

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


Other dynamicsDistanceLevelsStage placementProximity to sceneryCrowdsIsolationTimerelated to distance

ACTIONS (Objectives)Actions are not activitiesActions require motivationWhat 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?





Studies from MISS JULIE

Studies from MISS JULIE

Studies from MISS JULIE

Studies from MISS JULIE

RELATIONSHIPSDefined by dialogue and physical relationshipsAnalyze the relationships and enhance them onstageHow do characters move?Do they touch? Or not?Are they elegant like dancers? Or awkward like thugs?Explore characters spatial relationshipsRELATIONSHIPS

CONFLICTSSince conflict is the root of action, the staging must reflect the conflict in physical termsEach scene should be treated as a conflict that is introduced and resolvedFirst analyze the conflict to understand it and then use it to drive the scene

ENTRANCES AND EXITSMuch is communicated when characters enter or exitConsider placement of entrances and exits carefully and use them tactfullyOftentimes, musicals challenge you with challenges of logicseek to clarify place through consistencyRegardless, motivate entrances and exits

SIGHTLINESSighlines are the view each audience member has of the stageDirectors can help in staging is they have a model to work from

STAGE PICTURESCompositionPicturizationBalanceProportionVarietyBeauty

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


Does this composition tell a story?

BLOCKINGDiscovery? ORPlanned?

Organic BlockingORGANIC 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 a great way to discover organic blocking

Improvisation needs guidance

Blocking OutlineImprovisation is helped by having a loose blocking outline that provides a structure for the improvisationIn this system, the director gives the actors a sense of the scene before they begin to improviseplan key moments, entrances and exits, for exampleSetting the sceneAfter exploring through improvisation, the director sets the choices and the blocking is noted by the PSMNOTE, this is only a blocking techniqueit should not be used for performance UNLESS it is an IMPROV showOnce blocking is set it affects the work of the other collaboratorsFor discussion, see the text, page 129-130The planned approach (Pre-blocking)Read and be familiar with the sceneMake an outline of the scenes major actionsVisualize the setting (constult the groundplan and model)Beat by beat, work your way through the sceneRecord your blocking in your DPNPutting the scene on its feetSet the groundplan with rehearsal furnitureExplain the groundplan Readthrough the sceneDiscuss the main actionPlace the actors in their placesBlock, but allow actors choices for businessOnce blocked, run the sceneMake any necessary changesBlocking Notation

Blocking notes

Devise a system thatworks for you and the play you are working on

See textbook, page 133

Blocking in non-proscenium spacesChapter 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

FINAL THOUGHTSRemember where the audience is seatedBe aware of the sightlinesCreate organic actionEntrances and exitsScene changes