Directors vs. Actors... How do you keep to your concept yet give the actors freedom to act?

Question

I am currently directing a production of "Taming of the Shrew" and never in my experience as a director have I had lead actors that were so hesitant to do what I ask them to do. It's always "that doesn't feel right" or "I can't do it that way because blah blah blah" I don't want to be a dictator but by the same token, an actor's job is to try to understand the director's concept and go with it. I'm lucky to have actors of such talent, but I really wish they would leave their egos behind and trust that I know what I want and I see a bigger picture than just their role. Has anyone else had a similar experience? how did you deal with it?

Answer 1

Something seems to have gone amiss here, and the lines of communcation appear to have gotten clogged. Not a place you want to be, but, in the truest spirit of live theatre...there's no way to go but forward.

Actors should RELISH the opportunity to take directorial input and TRANSLATE it into their own physical/vocal/imaginative terms. As a teacher, I always stressed that this was the actor's primary task. Not to be slavish to director whims, mind you, but to be OPEN and AVAILABLE to the possibility of being nudged towards something that you might not have found on your own.

Okay, that's me the actor talking. I'll always try to give a director a fair opportunity to see his/her ideas onstage. And, if that idea strikes me as superior to anything I've yet tried, it gets woven into the fabric of my performance.

Now, here's me the director talking: ANY actor who comes at me with "that doesn't feel right" is bucking to be replaced. Period. If I'm the director, then I was given the responsibility of ensuring that all aspects of the production are functioning properly. And, as a very wise acting teacher told me many, many years ago: "This play is not about how YOU feel." Amen to that.

If I have something in mind, I need to SEE it enacted -- fully, and without actor reservations -- in order to know whether it was a good idea to begin with. If it sucks, I'll be the first to say so, and we'll never speak of it again. But I simply will not abide actors editing my ideas before giving them a fair chance.

You may not be in a situation where replacing actors is an option...in which case, I'm not sure how to advise you. You can plead, beseech, and implore, but...if you have no real enforcement mechanism, you're a little bit at their mercy.

Here's the bottom line for me. I'm no different from anyone else who works in the theatre; the ideal environment for me is one where everyone loves and adores everyone else, and we all coast through our rehearsal/performance schedule with warm fuzzies 24/7. HOWEVER...life in the real world is often something else altogether. And, when I'm in a situation like this...I by God work for William Shakespeare, and I don't care whether the cast thinks I'm the biggest butthead on the face of the earth...as long as the show gets to where it needs to be.

I feel your pain.

Answer 2

Well first off you must get the actors trust. Do they know what your striving for? Do they trust the outcome? Ive acted with casts that were always wondering what is she thinking. Is your vision attainable or to complex for them? Is this a community, proffesional or scholastic theatre group. Actors from different walks of life and with different levels of interest are going to approach it different ways. From about the collegiate level and higher however they should have learned by now to do what the director asks. Be careful however, it might not just be an ego problem that is getting in your way, there are 2 kinds of actors. Mental and Emotional.
Mental Actors tend to have to know every little nuionce (sp?) of a character and a scene. They ask alot of questions and tend to move abit slower. This is not to say they are not as good, quite the contrary. Mental actors can be some of the most well trained veterans you will ever see develop. Emotional actors tend to shoot from the hip and will try 100 different takes with a 100 different shifts. They can be the most rewarding and talented, but can be the most loud and egocentric. Learn your cast, find the individuals and pull from them. Id love to discuss more with you if You'd like, drop me a line. [e-mail]
Also remember in the end it's your show, and your gonna be doing most of the work. Dont let them take it from you. I hope this helps even the slightest, and before opening night.

Answer 3

if they are just divas,I don't really think there would be much you could do to change it, because they seem to have their mind set that they know what their character is and they don't want you to tell them what to do. But um hello, you are the director. You are the one with the vision, and they are the clay you are molding to bring that vision to a reality. I know it's very common to have cast meetings before rehearsals even begin explaining how things will work, and some actors dont really listen and grab onto what you are saying, they are just ready to try this new role on for size. Remember, you are a THEATRE director...we are all divas at heart trying to make our careers better. BUT, your problem is a diffenece in theatrical vision, you have a different vision for the play than the actor, and if the actor isn't willing to open up to your ideas, then you can't really do much other than fire them and re-cast the role. BUT! never be afrid to ask "why does that not work for you" "what about your character makes it so vital that you not do this", and if they have a good point, you may re-invent your whole idea and see a new light on the role. bottom line = communication. hope it helps.

Answer 4

I think that 9 times out of 10 what you're describing comes down to two things - either the actors don't understand what your vision of the piece is, or else they're afraid. Most prima-donna behavior is based in fear and insecurity.

You said you felt lucky to have actors at their level of talent. Is it possible that they don't trust you? Did they know you before you cast them? Have you shared your vision with them? You're right when you say you see the bigger picture - it's not an actor's job to look at the overall piece, and is impossible to do from the vantage point they have inside the play. I'd try to understand what is keeping them from trusting you - maybe it's a communication issue that can be corrected.

I know that I don't work particularly well with dictatorial directors who move me around like a puppet - I need to know why I do the things I do. I need it to feel right too - and I want the director to help me make it feel right by figuring out with me why I do and say the things I do. Do you think you are perhaps unwittingly making them feel that their ideas and thoughts are unimportant and it's causing them to resist you?

I realize I haven't offered any suggestions, just questions for you. But it sounds to me like it's a communication problem. I'd talk to them about what's going wrong.

Answer 5

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Answer 6

You tell them that you have no intention of using what you're asking them to do; that it's just an exercise. Afterwards ask them how they felt. They may be a little more open if they don't feel they have to perform.

Ultimately, though, the responsibility is yours. You cast them. I use call backs to discover how open the actors are to wild aberrant interpretations - just to see if they'll go there. You may also want to re-examine your "concept". If your actors don't want to go there, it may not be their problem. It's always going to be a collaboration between all parties involved. Have flexibility in your concept and they'll probably have some flexibility in their interpretations. I tell every cast I work with that we are much smarter working together than I am on my own. I'll just take credit for all of their brilliant ideas.

Whatever you do, though, don't fight with your actors - everybody loses.

Answer 7

Actors come with egos.......... usually more pronounced than most. Try to loosten your big picture enough to have variations.
This is not a painting -still and perfect.
It is a play.

And, whereas artistic expression is a deeply worked ideal - there's as a reason its not called a "serious". Fun always creates better than growling.