Being a director is a real challenge. Once you finally find the opportunity to direct, you are highly responsible for the final product. This may stress you out in a number of cases, but remember that your ultimate goal is to make the production as good as possible.
Steps
Method 1 of 4: Part 1: Which Opera?
Step 1. Decide which artwork you want to produce
As a director, you have to try to find a work that is perfectly suited to convey what you want to say to the audience. It is important that the work reflects how you feel about certain issues, whether they are social, moral or ethical, and that viewers understand what you are trying to communicate. Once you've found a play or written one, it's time to get the cast together.
Method 2 of 4: Part 2: Organize Participants
Step 1. Prepare the specimens
At this point, you need to choose the actors who will be part of the cast. It can be a complicated decision, whether there are few quality actors or if you have too many good ones. In the first case, you will have to dedicate a good part of the rehearsals to make their acting improve; in the second case, you will have very few problems, but there is still a disadvantage: some of the actors may sulk because they wanted a bigger part and that they could have managed well in their opinion. In these moments, it might be a good idea to remind those who complain that they are talented actors, but that your word is the final one. This is a straightforward way to show "who's boss" and can be considered quite rude, but if you express your assertiveness properly, you can earn the respect of your actors with your honesty.
When doing auditions, be sure to keep an eye on the chemistry that builds up between certain actors. You can benefit from assigning roles that require them to be together on stage for many scenes and to express themselves both physically and verbally
Step 2. Organize the rehearsals
Once rehearsals begin, it's important to explain your rules and the way you work on the cast right away. Some of the actors may have only collaborated with one director before you and are used to a certain modus operandi. Be clear from the outset that you have a specific way of working and that there are certain rules. Preferably, they should be simple. For example, actors are not allowed to speak during concentration exercises. While this may seem obvious, it may sometimes happen that you collaborate with a group of easily aroused people. In such a situation, maintaining a perfect organization could be more beneficial. It also demonstrates serious participation on your part in all of the production, which allows you to gain some extra respect.
- If you are working with inexperienced actors, organizing other activities, such as spending more time together during rehearsals or planning evenings out with friends, could be beneficial for both you and the cast. You get to know them a little better, and by engaging in a pleasant conversation, they can understand that you are not the hateful person they thought you were. It also allows your actors to get to know each other in an environment that doesn't require them to focus on business matters.
- Make sure the production manager is present if not at all, at least at most of the rehearsals. He needs to know exactly what stage equipment you need, so that he can prepare them to be in place when the production is ready to go to theaters.
- At the beginning of each rehearsal, ask your actors to do concentration exercises. They will allow them to focus on the work that awaits them. After completing this step, vocal and physical exercises are also very useful as a warm-up.
Step 3. Evaluate your approach to directing
For example, before each scene, tell the actors what you want to see them do. This will prevent endless searching through various different approaches to each other as you fumble to figure out which one you prefer. Obviously, this is a directing style that may not be for everyone. For example, a production can also have several benefits thanks to experimentation. In the end, it depends on the type of work you are working with and the actors you are collaborating with, as well as personal preferences.
At the end of the scene, make general comments about blocking moments, missed beats, or passages that go too slow or too fast. Make individual comments to each actor after finishing a scene, perhaps focusing on their body language or how they interact with others on stage. Once this is done, give the actors who are not on stage a chance to have their say. They are your extra ears and eyes, and they may notice details you missed
Method 3 of 4: Part 3: The Performance
Step 1. Once the time has finally come to bring your show to the stage, the tension will be skyrocketing
The atmosphere could be tense between you and the cast members, between the cast members themselves or between the production crew, who may have problems with the way people treat props. You need to make sure you are empowering everyone and giving pep talks when they need to. It is in this instant that you really show what you are made of. A good director will be supportive and professional even in moments of great stress, and performance evenings will be part of those moments.
Stay calm and in control. It's good to let off steam after the performances are over, but definitely not before or during. Even if things go wrong during the dress rehearsal, show the people around you that your trust in them is rock solid. It will make you feel better and therefore work more profitably. Everyone will benefit from it
Step 2. Practice the bow at the end of the performance with the actors
Especially if you are new to the stage, be sure to establish an order as to who comes back first and who follows. Also, make sure that the person in the center has thought of a sign to initiate the bow, such as shaking the hands of the two people at his hips, who will then do the same with everyone close to them when it comes time to bow. It would be sad to conclude the work with an uncoordinated bow.
You will only join them for this ritual at the end of the last performance
Method 4 of 4: Part 4: After the Show
Step 1. When a performance ends, congratulate everyone on a good job
This is especially important if it is the latest performance. Compliment the actors, the production crew, and the technicians for their good work, as long as it's true. After all, these are the people you've worked and communicated with for a long time. They can provide you with good points of view that you haven't considered and that will enrich the next show.
Step 2. Communicate constructive feedback
When you get some noteworthy advice from the audience, talk to the actors about it. Particularly if the production has multiple performances, this is useful for both you and them. Make sure everyone is on time before the next performance, so you can go through the various scenes together and tell them what went well and what didn't. A production is a learning process for everyone involved and no performance is the same as the previous or the next.
The audience changes every night and things that might suit one might not get the same reception from other viewers. This does not mean that your work has problems, it is merely a matter of audience dynamics: some viewers prefer the physical action, while others the verbal parts
Step 3. Start something new
Now that you're done with this production, it's time to start thinking about the future. With any luck, you have found time to network or someone who has witnessed your work wishes to hire you for a project they are funding. If you are not lucky, the cycle starts over or ends, at least temporarily, without having a plan. Make sure, therefore, that every production you direct is one that you fully support. That way, there will be no remorse and you can look back fondly on the work you've done, no matter how small or amateurish the production was.
Advice
- Always remember to listen to everyone involved and encourage them to ask their questions and ideas.
- Don't forget the lighting and the many other possibilities a theater has to offer! If you do most of your rehearsals outside the theater and without a technician, be sure to think about the following variables every time the actors stage an act: “What should the lights be? What sound effects do I need?”. It might sound silly or trite, but it's surprisingly easy to forget these factors until the very end and find yourself faced with incomprehensible questions posed by the lighting technician. Avoid looking like an amateur and keep a backup plan!
- Try to have a plan! As this is important to any aspect of the theater you work, it is worth pausing for a moment. Is an actor giving you problems? Make sure you have a replacement so you can send him away if necessary. Are you afraid that some of the props you need may not be available for the performance? You must have a backup plan in mind to solve the problem. In all cases, have a plan.
- Write a diary. Inside, keep track of all the things you have done to proceed with the work. This can include trying to get the funds, your job editing the script, searching for actors, rehearsal notes, whatever. It is useful to write down the shortcomings you have identified or the good advice that has been given to you or that you have given to others. Jotting everything down allows you to clarify everything and you may end up re-reading the diary years later, surprised by the points of view you expressed and amused by your own mistakes. It is also an ideal tool for writing down the exercises you found helpful or hilarious, the things that happened between the cast members and the minor anecdotes.
- It works according to the different strengths of the actors. Tell your playwright what you want to convey, so that he knows what he should do.
- If you feel you need to be alone with the actors without the production crew or the people who have been kind enough to join the rehearsals to support them, announce that you will be doing closed rehearsals. Especially in the beginning, when you are first working as a director and / or with a cast you don't know very well, it's important that you all feel comfortable together. If people want to join you later, this shouldn't be a problem. Don't be afraid to tell your cast that people need to ask for your permission before attending. In fact, it's a rehearsal, not a tea party, and you need as much time as you can get.
- Always be honest. Of course, this doesn't mean brutally attacking someone who asks you for an honest opinion about their work. It means you owe everyone the best feedback you can give. Always grant positive points of view too, because nothing is 100% negative.
- Always remember the production crew and technicians when you thank the people who worked on the work. After production is complete, send them flowers or some other gift as proof of your appreciation. These people, just like you, are not on stage, but they are vital to a successful job. Make sure you thank everyone and never take things for granted.
- Break the ice with your actors and actresses. Try some confidence exercises to break the physical and mental tension and try going to the movies together to get rid of the remaining discomfort. In general, your cast will become much more confident this way and develop a healthy respect for you.
- Be direct, but respectful. When you give feedback about an actor's performance, show him that you are not going to demoralize him. However, you have a responsibility to be honest with him. Lying to please the actors will get you nowhere to improve your quality (read the Warnings section for a further point of view on this).
- Emphasize the importance of lower roles. Stanislavski's often quoted phrase "There are no small parts, only small actors" is essentially true; this means that each part has its own weight for the plot and is therefore fundamental. When actors who have smaller parts come to you with hopes of getting a bigger one, feel free to explain to them, in no uncertain terms, that they need to make what they are about to work. Try adding a positive note by saying that they should consider it a chance instead of a limitation on their abilities. In fact, a lot of work is still required to be on stage and be interesting while having minimal action.
Warnings
- Don't let others make decisions for you. It's easy to blindly copy what directors more experienced than you do, but never forget that the final product is your responsibility. So, if someone who is more experienced than you gives you advice that you don't think is useful, don't use it!
- You did not choose this profession to be liked by everyone. An easy mistake to make as a director is to absolutely want the cast to love you. This could cause the actors to lose respect for you or, if that doesn't happen, at least feel free to ignore you. There is nothing wrong with being a little bossy at times, this also serves to make a name for yourself. In fact, if taking care of this production was a stroke of luck, you will have a lot of difficulty finding another opportunity to direct something other than a puppet show in case you are a director who cannot demonstrate his personality.
