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

23. 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

28. 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

31. 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

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

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

37. Balance

38. Does this composition tell a story?

41. Discovery? OR Planned? BLOCKING

42. 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

43. Improvisation is a great way to discover organic blocking

44. Improvisation needs guidance

45. 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

46. 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

47. 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)

48. 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

49. Blocking Notation

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