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CH 11 Blocking Stage Directions

This document provides guidance on blocking and staging a play for drama club students at different experience levels. It discusses important considerations for blocking such as understanding the performance space, simplifying movements, and allowing flexibility within scripted stage directions. Specific tips are offered for nascent, intermediate, and advanced students, including preparing stage "pictures," using triangles and levels for visual interest, and encouraging character-driven physical choices. The document also covers blocking considerations for musical numbers versus spoken scenes. Additional resources on play directing are listed.

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Vincent Frivaldo
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220 views3 pages

CH 11 Blocking Stage Directions

This document provides guidance on blocking and staging a play for drama club students at different experience levels. It discusses important considerations for blocking such as understanding the performance space, simplifying movements, and allowing flexibility within scripted stage directions. Specific tips are offered for nascent, intermediate, and advanced students, including preparing stage "pictures," using triangles and levels for visual interest, and encouraging character-driven physical choices. The document also covers blocking considerations for musical numbers versus spoken scenes. Additional resources on play directing are listed.

Uploaded by

Vincent Frivaldo
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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DRAMA CLUB Chapter 11: Blocking and Stage Directions

Blocking and Stage Directions


The idea of blocking or staging a play can be very daunting. It is important to remember that the pictures you
create with the actors on the stage ultimately serve to better tell the story. This chapter is dedicated to helping you
tell the physical story the best way possible.
Regardless of experience, some things to keep in mind are:
• Go into every rehearsal with a clear understanding of the space in which you will be performing. You will not
always have the luxury of rehearsing in the actual space, so understanding how that space will eventually be
set up is imperative.
• Simplify.
• Know the “rules” but also know when to break the rules. For example, it is important that the audience is
able to see the performers. Therefore, it is rare that a director will block a scene with the actors’ backs to the
audience. However, there may be a moment when that choice is particularly powerful.
• Keep in mind that stage directions written into a script are very often simply the blocking that was used in
the original production. Feel free to use those as a guide, but do not get stuck trying to replicate the original
movement exactly.

NASCENT
At the nascent level, it is very possible that your students will have no idea what to do with their bodies in the
space. It is, therefore, important that you are able to guide them.
For every scene:
• Find the important moments. Decide ahead of time how to best tell that part of the story physically.
• Come into every rehearsal knowing roughly how you want the scene to look. If you can choose your “pictures”
ahead of time, as a team you and your cast can figure out how to get to each of them.
• Make sure that you, the cast, and the stage manager (if you have one) write down ALL of the blocking. This
way you do not have to re-do the work multiple times.
• Know where in the space the moments take place.

 NASCENT ACTIVITY
For this activity, you’ll need the following resources, found as addendums to this document.
• Addendum 1: Explanation of abbreviations

INTERMEDIATE
At the intermediate level, your students will probably have started to develop some good instincts. It is important
to let them explore and try things in terms of blocking, but you should also go in with a plan. Please see the section
on Nascent Blocking in terms of what you should prepare, but also allow yourself to be flexible and make changes
based on what the actors are able to bring to the table.

 INTERMEDIATE ACTIVITY
For this activity, you’ll need the following resources, found as addendums to this document.
• Addendum 1: Explanation of abbreviations

Remember to:
• Use your triangles: straight lines are incredibly boring to look at!
• Find levels: create pictures with some performers standing, some kneeling, some sitting, etc. This will create
visual interest.
• Edit when necessary: though you want to give your students freedom to make choices and try new things,
ultimately it is up to you to decide when something is working and when it is not.

EDUCATION PROGRAMS AT CLEVELAND PLAY HOUSE 1


DRAMA CLUB Chapter 11: Blocking and Stage Directions

ADVANCED
At this level, your actors probably already have some good instincts. See what they have the impulse to do and
allow yourself to be informed by it. Go into the rehearsal with an idea of your stage pictures, but do not be afraid to
make adjustments and changes based on what the actors bring to the table. There is a reason you cast them! See
the section on Nascent Blocking in terms of what you should prepare, and the section on Intermediate Blocking
for reminders on forming stage pictures, but allow the students to inform you and do not be afraid to scratch your
initial plan.

 ADVANCED ACTIVITY
For this activity, you’ll need the following resources, found as addendums to this document.
• Addendum 1: Explanation of abbreviations

Keep in mind:
• Physical choices related to posture, gesture, and quality of movement tell a lot about what is happening and
who the characters are. At this stage in your blocking, be sure to work with the performers on those specific
choices as well. It is one thing for an actor to move to stage right as blocked, it is another thing for her to
slouch while dragging her feet and slowly moving to stage right. Encourage your students to be specific!

MUSICAL THEATRE
When thinking about staging a musical, you must first start by deciding which numbers will be blocked or staged
vs which numbers will be choreographed. While your students probably have excellent instincts, when working on
musical numbers specifically, it is best to go in with a plan and stick to it. Allow feedback, but ultimately you need
to create the pictures what work best with the music, story, etc. When working specifically on the non-musical
scenes and moments, please revert back to previous sections. Have a plan certainly, but also trust the intuition of
the performers whom you have cast.

 MUSICAL THEATRE ACTIVITY


For this activity, you’ll need the following resources, found as addendums to this document.
• Addendum 1: Explanation of abbreviations

ADDITIONAL RESOURCES
BOOKS
Play Directing by Francis Hodge, 1979. Play Directing describes the various roles a director plays, from selection
and analysis of the play to working with designers to bring it to life.
Tips: Ideas for Directors by Jon Jory, 2000. Until very recently, directing wisdom was passed on in the form of
“tips”. Continuing this tradition, you will find them ranging from the way set a scene to directing the actor on the
way to laugh.
On Directing by Harold Clurman, 1972. A straightforward, tasteful, and articulate account of what it is to bring a
play to palpitating life upon a stage.

EDUCATION PROGRAMS AT CLEVELAND PLAY HOUSE 2


DRAMA CLUB Chapter 11: Blocking and Stage Directions

ADDENDUM 1: Explanation of Abbreviations


Abbreviations
SR: Stage Right
SL: Stage Left
CR: Center Right
CL: Center Left
CS: Center Stage
UL: Upstage Left
UR: Upstage Right
DL: Downstage Left
DR: Downstage Right
US: Upstage
DS: Downstage

EDUCATION PROGRAMS AT CLEVELAND PLAY HOUSE 3

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