I am getting ready to direct a play and I have never directed before does anybody have any good tips?????

Question

Its a one act play with a small cast and its a brand new theater club and I want to be really good!!!!!!!!

Answer 1

Here is what Wikipedia had to say:

Styles of directing

Directing is an artform that has grown with the development of theatre theory and theatre practice. With the emergence of new trends in theatre, so too have directors adopted new methodologies and engaged in new practices. Generally speaking, directors adopt a style of directing that falls into one or more of the following categories:
The dictator
In this style of directing, the director has a strongly assertive role and is very dominant in the process of creating a theatrical work. Rehearsals are more or less fully controlled and predictable, with the actors having little or no say.
The negotiator
'The negotiator' is a style of direction in which the director focuses on a more improvised and mediated form of rehearsal and creation, using the ideas of the production team and actors to shape a theatrical work in quite a democratic style.
The creative artist
The director sees himself or herself as a creative artist working with the 'materials' of dramatic creativity, be they the actors, designers and production team. The "creative artist" wants input from the actors but, as artist, has final say over what is included and how ideas are incorporated.
The confrontationalist
In this style of directing, the director is in constant dialogue and debate with the cast and the production team about creative decisions and interpretations. The director seeks out and actively engages in such exchanges. Out of these exchanges, which can sometimes be heated or risky, comes a final contested product.
Many contemporary directors use a creative amalgam of styles, depending on the genre of the theatrical work, the nature of the project and the type of cast.


I really enjoyed this site! It has a plethera of information for the director!

"Directing is simple; you have to take care what you got -- script (characters, plot, themes), actors (characters, plot, themes), stage (characters, plot, themes), costumes...."
http://afronord.tripod.com/thr/directing.html

Good Luck! Let me know how it goes!

Answer 2

Start with a reading. Have all the actors Read the script. On stage or at a table.

On stage might be best.

Then decide where you want them on stage.

Then decide how the enter the stage and exist and where they go and what they do. Fixed bits of action.

Then sit back and look at it all and start playing "what if" in your own mind.

What if I ask this actor to change is character from straight to cynical.

Even try a few what if with the actors

Try them either veraball from your seat or go privately so you can see how the others react.

Try bits of actions and hand movement.s

We did this one sit from a Trace Ullman show and we never saw them do the skit, but it was about a woman who was coming to reposess a heart given to the wrong patient.

We played ti straight, sarcasting, serious, farcial.

And one bit I devised that I liked was having HER point to HER heart when she said the words

The HEart and we gave

ANd then point to him when she said

You

Then take a beat, then put her thumb out and point to the side like she's hitchiching

It has to go back.

Andother thing to do is swtich actors. HAve them exchange parts and see how the new actors plays the part.

Think of it as a chess game and you move the pieces on the board.

You should sit in the audience area so you can see it as a sepctator.

Sometimes it's good to snap your fingers and keep a beat and make them speak to the beat.

Once you start to SEE the play you firm up the blocking and put down the marks.

Once you decide how to run the play yu then work it out until they know it inside and out and are comfotable.

Remeber to do exits and entrances

Remember to do bits

You got a bartender or waiter give them a towel to carry and use and throw over their shoulder when they aren't using it.

Give someone a newspaper to carry

Be creative If someone is to shout to get attention, try it, but also try other devices. A horn or whistle

Then see what works best.

People can laugh at parts of a drama and cry at parts of a comedy.

The first thing you have to do is UNDERSTAND the play. What is the AUTHOR trying to say and did the author really do right or can you improve and make what the author says shine better.

If a play falls together without you saying a word, then your job as director is to keep your mouth shut and make them work it out.

A director knows what to do nothing and when what they are watching is dragging and "needs" something and then it's up to you and your actors to find that "something" that makes it move again.

Hopefully YOUR actors are going to come in preparied with their own bits and their own ideas of what the character should be.

If they are doing a good job, don't stop them. If they are stepping on the authors conception, then suggest something to correct them.

Ultimately a directors job is to coordinate all the tools available to make a good presentation.

They actors can't see what the audience sees.

YOu using lighting, stage moves, enterances, exists, props, bits of action, timing, delivery BUT you must always be aware of the AUTHOR's INTENT in the play. What is the message, your job is to deliver that message. To stage it.

Answer 3

I'm just going to give you some practical tips.

To calculate the minimal amount of how much rehearsal time you will need, I recomend the following formula. Assume two minutes of stage time for each page of the scrip to get an approximate running time of the play. Schedule one hour of rehearsal time for every minute of running lengths. For example, a 15 page play would be about 30 minutes long and require 30 hours of rehearsal. Mind you, this is a minimum amount of time. If you schedule a little too much rehearsal time early on, you will always be able to shorten or cancel some rehearsals later. It is much more inconsiderate to the actors to add rehearsal time.

Next, since this is a school project, require your actors to be off book at least three weeks out from opening. Odds are at least one or two of them will take another full week to get off book past the off book date. Giving them the three week deadline almost ensures that you will have two solid weeks of off book rehearsal. This is essential in my opinion.

If you are having to determine the floorplan yourself, set it before your first rehearsal so you can show it to the actors right away. You can always tweak it later, but having the first version will make your life easier - especially when you start blocking.

Speaking of blocking, have an idea of what you want any given scene to look like, but don't be afraid of being flexible if it doesn't quite work. You want to come in with some blocking (or at least some stage pictures) in mind so you don't waste the actors time, but there is alwasy the chance that an actor will have a brilliant blocking idea.

Enforce your expected rule of behavior early and consistently. Avoid playing favorites with your cast. Especially avoid gossiping about your cast with other cast members (or, really, with anyone).

If you can, get a stage manager with some experience. Have them record your blocking in a way that they can understand. This will save you huge headaches later - and throughout. This will also give you a person to bounce ideas off of.

Invite a few people you trust to watch a run through before you preview it and solicit their feedback. While you obviously shouldn't change the whole play based on a couple of people's suggestions, it is good to watch how they react to the show and - furthermore - some of their suggestions might prove useful. Listen to their suggestions politely, write them down and decide for yourself whether you feel they are of value or not.

Speaking of notes, a few precise notes per rehearsal tend to work better than a huge list of notes. If you can make your actors focus on one or two things at a time per rehearsal, they'll advance a whole lot farther than if you try to change everything about them

Good luck and have fun!

Answer 4

From one "one act" director to another just trust your cast you'll find that they're really going to surprise you with their talent and wonderful ideas and also just have fun being a director can be a bit stressful but it sure is fun!

Answer 5

Honestly, put your heart and soul into it, do your best, do what feels right, and in the end it will be spectacular.

Answer 6

Don't scream or yell they won't respond