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THE
                 DIRECTOR’S
                    ROLE

NOTES ON DIRECTING            p. 9
“Being a director
             means cracking that code,
          interpreting, not to demonstrate
           how clever you are, but to get
          out of the way, to let the actors
              show the play in clear to
                   the audience.”


NOTES ON DIRECTING                            p. 79
“Your job is to prevent
          any changes in the script unless
          you are honestly convinced by
              repeated change that
                change is essential.”




NOTES ON DIRECTING                           p. 79
No. 15

                     You are the
                     Obstetrician.

           “You are not the parent of this
           child we call the play. Your job
              most of the time is simply
                  to do no harm.”




NOTES ON DIRECTING                                p. 9
No. 17

                  Don’t always
               connect all the dots.

              “Give the audience a role
            in filling in what‟s happening.
            That is, give them all the dots
            they need but don‟t connect
                  all the dots for them.”


NOTES ON DIRECTING                               p. 10
No. 21

                 Don’t expect to
               have all the answers.

                “You‟re the leader, but
             you are not alone. The other
             artists are there to contribute
                    as well. Use them.”




NOTES ON DIRECTING                                p. 11
No. 28




               “Actors and others will
          follow you even if they disagree
            with your direction. But they
               will not follow if you are
                     afraid to lead.




NOTES ON DIRECTING                              p. 14
No. 29

                     Directing is mostly
                          Casting.

                “Some say directing is
            60 percent casting, others say
               90 percent. Regardless,
                      it‟s a lot.”




NOTES ON DIRECTING                              p. 17
No. 29

                     Directing is mostly
                          Casting.

           “There is not a more important
            single decision you will make
             during the production than
               who you put into a role.”




NOTES ON DIRECTING                             p. 17
No. 47

                      Don’t bury your
                     head in the script.

           “Watch as much as possible.
           When you‟re running an act,
          and even more the whole play,
             don‟t sit taking notes all
                    the time.”



NOTES ON DIRECTING                            p. 29
No. 56

                     Every actor
                      has a tell.

            “A tell is what an actor does
           when he doesn‟t know what to
            do. It is a habitual behaviour
           that is completely irrelevant to
                 the task at hand …”



NOTES ON DIRECTING                               p. 35
No. 56

                     Every actor
                      has a tell.

             “… and reveals itself at times
              of insecurity, fear, or lack of
                 focus or imagination.”




NOTES ON DIRECTING                                 p. 35
No. 56

                     Every actor
                      has a tell.

           “Discovering [your actors‟ tells]
           can be a valuable diagnostic
           indicator of when intervention
               is needed to clarify the
                character‟s situation.”



NOTES ON DIRECTING                                p. 36
No. 61

                     Sincerely praise
                         actors.

            “Rather than correcting your
            actors all the time, get in the
           habit of frequently telling them
             what they are doing right.”




NOTES ON DIRECTING                               p. 40
No. 70

                     Please, PLEASE
                      be decisive.

          “As the director, you have three
            weapons: „Yes,‟ „No,‟ and „I
           don‟t know.‟ Use them. Don’t
          dither; you can always change
                  your mind later.”



NOTES ON DIRECTING                              p. 45
No. 72

                     Correct actors in
                         private.
              “This will not only prevent
                 damage caused by
             embarrassing them in front
           of others, it will make them feel
                good to get individual
                       attention.”


NOTES ON DIRECTING                                p. 46
No. 76

                      Introduce bad
                     news with “and”
                         not “but.”
             DON’T: “The costume looks
            great, but you‟re not keeping
              your hat up, and we can
                   see your face.”



NOTES ON DIRECTING                             p. 47
No. 76

                      Introduce bad
                     news with “and”
                         not “but.”
             DO: “The costume looks
          great, and when you keep your
             hat up, we can see your
                  gorgeous face.”



NOTES ON DIRECTING                           p. 47
Notes On Directing

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Notes On Directing

  • 1.
  • 2. THE DIRECTOR’S ROLE NOTES ON DIRECTING p. 9
  • 3. “Being a director means cracking that code, interpreting, not to demonstrate how clever you are, but to get out of the way, to let the actors show the play in clear to the audience.” NOTES ON DIRECTING p. 79
  • 4. “Your job is to prevent any changes in the script unless you are honestly convinced by repeated change that change is essential.” NOTES ON DIRECTING p. 79
  • 5. No. 15 You are the Obstetrician. “You are not the parent of this child we call the play. Your job most of the time is simply to do no harm.” NOTES ON DIRECTING p. 9
  • 6. No. 17 Don’t always connect all the dots. “Give the audience a role in filling in what‟s happening. That is, give them all the dots they need but don‟t connect all the dots for them.” NOTES ON DIRECTING p. 10
  • 7. No. 21 Don’t expect to have all the answers. “You‟re the leader, but you are not alone. The other artists are there to contribute as well. Use them.” NOTES ON DIRECTING p. 11
  • 8. No. 28 “Actors and others will follow you even if they disagree with your direction. But they will not follow if you are afraid to lead. NOTES ON DIRECTING p. 14
  • 9. No. 29 Directing is mostly Casting. “Some say directing is 60 percent casting, others say 90 percent. Regardless, it‟s a lot.” NOTES ON DIRECTING p. 17
  • 10. No. 29 Directing is mostly Casting. “There is not a more important single decision you will make during the production than who you put into a role.” NOTES ON DIRECTING p. 17
  • 11. No. 47 Don’t bury your head in the script. “Watch as much as possible. When you‟re running an act, and even more the whole play, don‟t sit taking notes all the time.” NOTES ON DIRECTING p. 29
  • 12. No. 56 Every actor has a tell. “A tell is what an actor does when he doesn‟t know what to do. It is a habitual behaviour that is completely irrelevant to the task at hand …” NOTES ON DIRECTING p. 35
  • 13. No. 56 Every actor has a tell. “… and reveals itself at times of insecurity, fear, or lack of focus or imagination.” NOTES ON DIRECTING p. 35
  • 14. No. 56 Every actor has a tell. “Discovering [your actors‟ tells] can be a valuable diagnostic indicator of when intervention is needed to clarify the character‟s situation.” NOTES ON DIRECTING p. 36
  • 15. No. 61 Sincerely praise actors. “Rather than correcting your actors all the time, get in the habit of frequently telling them what they are doing right.” NOTES ON DIRECTING p. 40
  • 16. No. 70 Please, PLEASE be decisive. “As the director, you have three weapons: „Yes,‟ „No,‟ and „I don‟t know.‟ Use them. Don’t dither; you can always change your mind later.” NOTES ON DIRECTING p. 45
  • 17. No. 72 Correct actors in private. “This will not only prevent damage caused by embarrassing them in front of others, it will make them feel good to get individual attention.” NOTES ON DIRECTING p. 46
  • 18. No. 76 Introduce bad news with “and” not “but.” DON’T: “The costume looks great, but you‟re not keeping your hat up, and we can see your face.” NOTES ON DIRECTING p. 47
  • 19. No. 76 Introduce bad news with “and” not “but.” DO: “The costume looks great, and when you keep your hat up, we can see your gorgeous face.” NOTES ON DIRECTING p. 47