The director is an interpretive artist who unifies all elements of a theatrical production around a single concept or vision. They coordinate meetings with designers early in the process and focus their work. During auditions and rehearsals, the director works with actors on blocking, character development, and ensuring the production comes together as a cohesive whole. As technical rehearsals begin, the director's primary focus shifts to integrating technical elements while maintaining the artistic integrity of the production. By opening night, the director has handed full responsibility for maintaining the production concept and calling cues to the stage manager.

1. Chapter 6

2. The Director
 An interpretive artist.
 Unifies the production by coordinating the work of all
theatrical artists as they make decisions about possible
meaning and significance.
 Tries to champion the perceived intent of the playwright.
 Uses the play as a pretext to represent his/her own vision
or ideas that are inspired or supported by the script.

3. Design meetings
 Staging can help to tell the story of a play.
 Interpretation is creating meaning beyond what is literal
or obvious in the text.
 Concept is the artistic decisions meant to communicate a
specific interpretation to the audience.
 Because plays must be interpreted, no two productions
can be the same.

4. Design meetings
 Typically, the director will start meeting with designers
even before casting the actors for the show.
 The director focuses the work of the designers and
inspires them to make their own artistic contributions
while shaping all of the work into a single, unified
concept.

5. Casting
 The standard tool for casting is the audition.
 During auditions the director is looking for :
 physical characteristics
 vocal characteristics
 how the actors works with others
 When casting a show, the director will even consider how
an actor takes direction.

6. Rehearsals (Blocking)
 Blocking refers to actor movement for a show?
 The director will make notes in the script and sometimes
draw small pictures to help them visualize the movement
and stage pictures.
 During blocking rehearsals actors still have their scripts
and the director is focused on fine tuning the movement
and stage pictures.

7. Rehearsals (Run-Through)
 A rehearsal of the entire show.
 Gives the actors a sense of the play's dramatic
development and rhythm
 Allows designers to see emerging movement patterns on
stage

8. Rehearsals (polishing)
 It is the job of the director to help the actors achieve a
successful characterization while working together
effectively.
 Time to take chances and explore the character
 Speed runs
 Improvisations

9. Rehearsal (Tech)
 Dry tech (no actors, just directors and designers)
 Cue to Cue (rehearse cues and scene changes only)
 Tech Rehearsal (Full run but focused on tech more than
acting)

10. Rehearsals (Dress)
 Costumes for production are added
 Generally a Dress (rehearse costume changes)
 And a Final Dress
 Preview
 Opening Night (Directors job is pretty much over)
 And he hands it off to the. . .

11. Stage Manager
 A good stage manager takes care of practical matters so
that the director can focus on artistic development.
 coordinate a show during rehearsal
 keep the director's artistic choices intact during the
show's run
 Calls the cues for a show generally over a headset.
 Organize the running crew who maintain and execute cues
for props, costumes, set, lighting, and sound during the
run of the show.