Director's Toolkit

Dr. Robin Schraft is a Professor of Theatre at Drury University. His commercial career includes work as a director, designer, and stage manager in New York, summer stock, national tours, and Branson, Missouri. He is a member of the Stage Directors and Choreographers Society (SDC) and the United States Institute for Theatre Technology (USITT), where he served for many years as the Vice-Commissioner for Computer Applications for the Lighting Commission of the Institute. He also served on the committee that wrote the current national recommended practices for stage lighting graphics.

• ContentsPreface Acknowledgments Introduction – What Is a Director? Background The Director in the Production Process The Function of the Director Approaches Director vs. Acting Coach Qualities of a Good DirectorThe Production Process A Final Thought Further ExplorationPART I – The Script Chapter 1 – Script Selection Script Selection Process Sources for Play Scripts Understanding and Obtaining Performance Rights Relationship with the Playwright Contractual and Ethical Obligations Preparing a Production Book Play Selection ChecklistFurther Exploration Chapter 2 – Understanding the Play: Script Analysis Understanding the Play Determining and Understanding the Spine of the Play Identifying the Dramatic Structure of the Play Dividing the Script into Working Units Analyzing the PlayDetermining the Style of the PlayScript Analysis FormatOutline of Script Analysis FormatFurther ExplorationChapter 3 – Research Leading to a Concept Analysis to ResearchProduction ResearchPeriod ResearchBackground ResearchCharacter ResearchPlaywright ResearchStyle ResearchFinal Thoughts on ResearchIntrinsic and Extrinsic Interpretations of the PlayHistorical and Social Implications in Interpretation of the PlayDeveloping a Production Concept for the PlayResearch Leading to a Concept ChecklistFurther ExplorationChapter 4 – Style What Is Style? The Origin of Theatrical Styles Modern Theatrical Styles Determining the Style of the Play Style vs. ModeDetermining the Mode for the ProductionFurther ExplorationPART II – The Production StaffChapter 5 – Working with the Production StaffThe Role of the DesignersThe Director’s Relationship with the DesignersContributions of the DesignersCollaborationDirecting the Design AreasProduction MeetingsA Final ThoughtFurther ExplorationChapter 6 – Working with the Stage ManagerThe Stage Manager’s Role in the Production The Stage Manager’s FunctionsThe Care and Feeding of Your Stage ManagerWhat the Stage Manager Is NotFurther ExplorationPART III – Auditions and CastingChapter 7 – Auditions Purpose of AuditionsTypes of AuditionsProcedures for AuditionsPlanning for the AuditionThe Use of Callback AuditionsHow to Improve the Quality of the AuditionsMethods for Keeping Notes on the ActorsDirector’s DecorumAudition Checklist Sample Audition Procedures Sample Audition FormSample Audition Worksheet Further ExplorationChapter 8 – CastingThe Importance of Casting Decisions Criteria for Cast SelectionThe Process of Making Casting DecisionsNontraditional CastingUnderstudiesChanging Your MindCasting with Other DirectorsCasting WorksheetFurther ExplorationChapter 9 – Scheduling for the Production PlanningThe Production CalendarThe Rehearsal Calendar – Preplanning vs. Daily SchedulesPlanning the Amount of Time NeededPhasesEstablishing Goals for Each RehearsalPresenting the Production and Rehearsal SchedulesFinal ThoughtsScheduling ChecklistFurther ExplorationPART IV – Floor Plans, Stage Pictures, and BlockingChapter 10 – Developing the Floor PlanThe Director’s Relationship to the Floor PlanUnderstanding Theater Architecture and Its Implications for the ProductionWorking with the Scenic Designer on Developing the Floor Plan Types of Floor Plans (Patterns of Scenery) Meeting the Needs of the ScriptUsing the Floor Plan to Focus the Audience’s AttentionMark Antony’s Funeral SpeechCreating Visual Interest Using the Scenic AxisBalanceSuggestions for Improving the Floor PlanUsing Key Scenes to Develop or Evaluate the Floor PlanDrawing the Floor PlanFloor Plan Development ChecklistFurther ExplorationChapter 11 – Creating Stage Pictures What Is a Stage Picture?The Process of Developing Stage Pictures Developing a Stage Picture for Ile SummaryFinal ThoughtsStage Picture Checklist Further Exploration Chapter 12 – BlockingPreplanned vs. Organic BlockingPurpose for BlockingPrinciples of Blocking Using Blocking More EffectivelyKeeping the Blocking MotivatedBlocking Pitfalls to AvoidUsing PropsPlanning, Recording, and Communicating the BlockingBlocking ChecklistFurther ExplorationPART V – The Rehearsal Process Chapter 13 – Working with the Actors Developing a Relationship with Your Actors Types and Functions of Characters Understanding the Actor’s Process Communicating with Your Actors Working with Actorisms Further ExplorationChapter 14 – Rehearsal TechniquesPlanning for the RehearsalsOrganization of the RehearsalsKeeping Rehearsals on TaskGiving the Actors NotesKeeping Muscle Memory in MindRehearsing Scenes Involving ViolenceActing Exercises to Address Particular NeedsRehearsal Organization ChecklistFurther ExplorationChapter 15 – Rehearsal Challenges Challenges vs. ProblemsSituationsSummaryProblem Solving ChecklistFurther ExplorationChapter 16 – Tempo, Rhythm, and PaceThe Director’s Relationship to Tempo, Rhythm, and Pace Tempo RhythmPaceUniting Tempo and Rhythm to Create Pace in the ProductionTechnical Implications on PaceTools and Considerations for Building the Tempo, Rhythm, and Pace of the ProductionPace and EnergyTempo, Rhythm, and Pace ExercisesFinal ThoughtsFurther ExplorationChapter 17 – Polishing the PlayThe Function of the Polishing RehearsalsPolishing the ActingImplementing the Technical Aspects into the ProductionTechnical Rehearsals without the Actors (Dry Techs)Technical Rehearsals with the Actors (Actor Techs)Dress RehearsalsStaging and Rehearsing the Curtain CallFinal ThoughtsFurther ExplorationChapter 18 - Evaluating the ProductionWhy Conduct an Evaluation? Evaluating the ProductionExternal Sources of EvaluationCombining All Sources of EvaluationProduction Evaluation Further ExplorationPART VI – Additional TopicsChapter 19 – Directing Nonrealistic Styles (Styling the Production) Identifying the StyleConventions of StylesDirecting a Presentational or Nonrealistic StyleDetermining the Mode for Nonrealistic StylesMatching Your Directing Style to the Style of the PlayExamples of Working in Styles Other Than Pure RealismGreek Theatre ShakespeareComedyFurther ExplorationChapter 20 – Directing MusicalsUnderstanding the Difference Between Musicals and Straight PlaysAdditional Collaboration in MusicalsWorking with the Music and Choreography in Developing the CharactersAdditional Considerations in Rehearsals for MusicalsA Word About Working with Musicians and ChoreographersFurther ExplorationChapter 21 – Directing in Alternative SettingsRecognizing How Directing in Alternative Settings Differs from ProsceniumGeneral Guidelines for Directing in Alternative SettingsDirecting in an Arena ConfigurationDirecting in a Thrust ConfigurationDirecting in Other ConfigurationsTouringFurther ExplorationChapter 22 – Directing in an Educational EnvironmentThe Director as TeacherUnderstanding the Goals of Educational TheatreUnderstanding the Role of the Educational DirectorThe Relationship of the Director with the Cast and StaffWorking in the School EnvironmentFurther ExplorationThe Next Step Appendix A – Sources for Play ScriptsAppendix B – Plays, Films, and TV Shows Referenced