blocking

[Feliks]

Always looking for the best technical guide to the stage direction of actors.

I mean: entrances, exits, blocking; hitting marks; 'moving actors around the space' (of the stage) for this-or-that reason. What are those reasons? What governs the placement of marks?

Been wading through numerous books on stage direction but few actually discuss the nuts/bolts techniques of stage craft.

Most books on direction talk about any other aspect BUT this.

Any recommendations?

[Kenny]

When I'm directing, I give very little blocking. I like the actors to find their way organically. I will find tune it but letting them find their way in character add so a much more realistic staging.

[Feliks]

Very well, but do any books come to mind which might describe other methods?
An example might be: 'two characters angry at each other, they close distance and face each other'

[Hannah]

My mentor is a professional director, and I asked her a similar question. She told me that directing cannot be learned from books. The best way to learn is by watching theatre and observing and analyzing the direction. Treat yourself to a couple nights at the show!

[Feliks]

Her comment makes sense.

But in my case, I am not attempting to become a director. I already have a full-fledged career.
What I am interested in is in improving my writing.

[Kenny]

Feliks wrote: "What I am interested in is in improving my writing." Ah, thank you, this makes things much clearer. Most blocking notes you find in scripts are not written by the playwright, but by a stage manager. There are exceptions such as Eugene O'Neill who wrote meticulous stage directions. My suggestion is that you read "The Iceman Cometh" and "Long Day's Journey Into Night." These will help you see how the playwright actually comes up with blocking as it pertains to his work.

I also think you should read some of the works of Peter Brook. He is the master when it comes to innovative staging.

I will tell you as a working director, I rarely follow directing notes that are provided in a script. They are an outline to me, in terms of setting, but I want organic blocking, not something that was established by someone else.

[Feliks]

Super! This gives me a fresh lead to follow. Stage Managers. Hurrah! Maybe one of them has written a book on what he typically does.

I've already read much of O'Neill's works; (perhaps this is where I got my impression that stage directions are a casual part of a play's text). But thank you.

What I'm hoping to find somewhere is a 'lexicon' of blocking terms or a 'watershed' of the most typical concepts used in blocking. In what common parlance do directors instruct their actors when rehearsing a scene. Even in 'organic' performances; what is the nomenclature?

An example might be something as simple as actors 'not walking or sitting down with their butts/backs facing the viewer'. Or the one I mentioned earlier, about how angry people draw close to confront each other. Maybe these are just basic concepts of body language; or little bits of 'stage business' --but it'd be helpful to me to grasp better.

I'm interested in exits and entrances --interruptions-- how characters 'shift around' in a room unconsciously. What makes someone move aside; or break off their sentence. A stranger entering a room causes one reaction; but a friend entering causes another. Our reaction to loud noises; or a shout from the window. Concentration vs inattention. Why do we behave the way we do. What is 'natural'?

[Marc]

If you google, Blocking workbook for the beginning director by John Warren Frick, you should find a free PDF download. It covers basic principles in blocking and composition. It was written in 1974, but you should find some fundamental ideas that could help in playwriting.

[Feliks]

fabulous! thanks!

[James]

If you are still looking, “Fundamentals of Play Direction” by Dean & Carra offers an excellent summary of principles of staging; Terry John Converse’s “ Directing for the Stage” offers some excellent exercises for exploring staging possibilities.

[Anisha Inkspill]

I'm not an actor / director but all interested in play production

recently, I read Shakespeare's Hamlet and also watched different versions on screen, including 'Richard Burton's Hamlet', when watching it the blocking was fascinating, I thought bought so much more depth to the play

I always regarded Hamlet as a serious affair, aside from Franco Zeffirelli's movie version, from Olivier to Branagh, that's always been my impression of this play, that is until I saw this one staring Richard Burton and directed by John Gielgud

IMHO, I think it's partly down to how it's blocked

and what adds to the viewing experience is that it's been shot in front of a live audience - watching it made me feel like I was there in the theatre - brill !!!

[Kenny]

Inkspill wrote: "recently, I read Shakespeare's Hamlet and also watched different versions on screen, including 'Richard Burton's Hamlet', when watching it the blocking was fascinating, I thought bought so much more depth to the play."

Burton's Hamlet is brilliant. One of the three best I've seen. You may want to take a look at John Gielgud Directs Richard Burton In Hamlet:A Journal Of Rehearsals. I have parts of it, and it is a fascinating view of how this was created.

[Anisha Inkspill]

Kenny wrote: "Inkspill wrote: "recently, I read Shakespeare's Hamlet and also watched different versions on screen, including 'Richard Burton's Hamlet', when watching it the blocking was fascinating, I thought b..."

thanks for the link Kenny

I was just completely hooked - it was until I watched this I appreciated, I mean really appreciated, how complicated this play is, and the depth - incredible