Directing for Theatre: An Update from Alexander Akin (Part Two)

The Name?

Firstly, anyone that read the last “Directing for Theatre” blog (there’s no prize for doing this, but you have my gratitude), you may realise there has been a name change. I’m still Josh if you meet me in person, I just have a pen name. Don’t worry, I’m not in witness protection or anything, I just wanted to compartmentalise different parts of my life. Other names I go by include “The Legend of Blackpool”, “Absolute top tier lad”, and “The one that can’t grow a beard”.

Back to Business

So, I’m directing a production called “Big Package in the City of Chaos”. It’s about a delivery driver who gets shot and is turned into a crime fighting robot. In the last entry we talked about the following:

- Vision

- Casting

- Read-through

In this entry we’re going to talk about what happens when you’ve got your actors, and you’re in the rehearsal room. 

Step Four: Planning a Scene

You and your producer will put a rehearsal schedule together. You basically work out how many scenes there are, and how many weeks you have until the show. The more you direct, the more you will learn how much time you need for any type of scene. Don’t worry, sometimes you will still get this wrong. I was amazed once that a scene I thought would only take two hours actually took four, and a scene that I thought would take four took one. The more experience you get, the more you minimise any errors in a schedule. 

Once you know actors are available, and you’ve booked out some time for a rehearsal. Read through the scene on your own. Make notes if you want. Know the scene inside out. When you get into the rehearsal room, you need to seem like the person with all the answers. It’s up to you whether you wish to have the whole scene planned out or if you intend on creating in the moment. I tend to have a lot planned, but with room for adaptation. Actors will have their own ideas of how a scene should look, often they will be great ideas. Learn how to bring a clear vision while being open to change. Your production will be better for it.

Step Five: Warm Up/Discussion

Different directors have different approaches. I like to think of actors as athletes. They have to bring physicality and endurance whenever they perform. You wouldn’t get someone to run a marathon without stretching. You can find loads of ideas online, but incorporate a mixture of stretches, physical exercises and vocal warm ups into the scheduled rehearsal time. You’re more likely to get a better performance out of it. I would also create your own activities that relate to the scene or characters you are exploring. For example, I had a scene where an actor had to mime actions that were being read out in an advert. To get them into this headspace, we played a game where I would shout random actions and the actor had to mime them. Nothing complicated, but builds the skills you require for each rehearsal. 

Before starting the scene itself, I like to sit with the actors and read through the pages of the script. Before blocking (see next step) the scene, I like to have a discussion with the actors. If the actors understand the scene mentally, they will be more successful in bringing it to life physically. Discuss what the character is thinking and feeling, discuss your intention for the scene tonally, and its intended impact on the audience. Check if the actors have any questions about the scene and their involvement in it. Also, say if you’re rehearsing scene four, recap what happened in scenes one to three- keeping the actor on track with their character’s journey in the play. I assure you that this will save time in the long run. If the actors are ready, it’s time to block.

Step Six: Blocking

“Blocking” is basically a term for positioning. The script is your blueprint. Some scripts are more prescriptive than others. I’ve had scripts before where every single movement the characters should make is written out. Others can simply tell you the location and what the actors say. If I’m writing a piece that I’m also directing, I don’t tend to put many stage directions in, only ones that help the actors know what’s going on.

Blocking can be as simple as “enter from here, with this intention. Stand here for this line. Walk over to this side of the stage when this happens. When you say this line, complete this action with your hand. You should pick up this prop when you say this…” Complete this positional work until you get to the end of the scene. Suddenly, the scene has gone from the page to the stage. The scene certainly won’t be refined, but the actors will at least know where they are supposed to be and when. 

There is a debate on how many performance notes you should give during the blocking. On one hand, you don’t want to overload the actors by saying “you need a more intense scream due to what they’ve lost” when you’re telling them where to stand for the first time. On the other hand, giving some performance notes at this stage will save you having to give them later. Make this decision based on the actor, and how much time you have left until the show. We will cover more on ‘refining the performance’ in the next part of this blog.

To Be Continued…

Josh Dixon is a writer, director and one of the two extremely intelligent executive producers behind Minor Spillage Productions. His hobbies include long strolls, glass blowing, competitive table tennis and none of the hobbies stated above.