[ Pobierz całość w formacie PDF ]
assets: good jokes and a had attitude. You need both because
good jokes will sometimes fall flat. Blame it on the weather,
the delivery, the time of day. No matter-the performer will
need something else to fall back on. Rude or quirky behaviour
works just fine.
56
Elements of Staging
95. If it moves, the eye will follow.
To control the audience's gaze, put an object in motion. No
eye can resist.
This is a critical tenet of stage direction since the
audience is free to look wherever they like.
If more than one object is in motion at the same time,
the eye will track to whichever object was most recently set
in motion or was most newly revealed by the motion. When
motion is combined with sound, however, the eve will look
in that direction regardless of whatever else might he
happening.
A shift in light will also appear as movement to the eye
and is among the director's most powerful tools for
controlling the audience's focus.
96. Every object tells.
In a properly created on-stage world, nothing is extra
FILM DIRECTING TIPS
Elements of Staging
and nothing is missing. (Recall 13. Realize that the end is in 98. When few characters are on stage in a large space,
keep them apart.
the beginning.)
Space between characters creates tension as well as greater
To paraphrase Chekhov, "Never hang a musket over the
fireplace in Act i unless someone gets shot in Act iii." That possibilities for physical and psychological maneuvering.
When blocking, imagine an elastic band connects the
is, do not create visual anticipation without exploiting it.
Playwright Romulus linney stated this same idea more characters. When they come together, the tension is gone,
strongly: "Everything on the set should be used up, burned the chase is over. (Recall s. The strength of the characters'
wants equals the strength of the play.) Look for ways and
up, blown up, destroyed, or otherwise completely
chemically altered over the course of the story or else it reasons to separate them, to reestablish the tension, the
chase, the very reason for watching.
didn't belong there to begin with."
97. Love triangles.
Two actors on stage establish a single visual relationship.
99. Imbalance adds interest.
Bilateral symmetry can be boring. Unbroken lines can be
Add just one more actor and you have up to seven
boring. This is true for sets, furniture, and actor placement.
relationships: one relationship between any two of the
Severity, balance, and formality have dramatic value in
individuals (that's three relationships), one for each of the
specific instances, but not generally.
possible pairings of two individuals in opposition to the
In staging the play, value the diagonal, the visual
third (that's three more), plus the unique relationship that
interruption, the rough.
exists between all three.
100. Choose a facing angle. When an actor faces an audience
Look for threes. When you have a triangular situa-
straight on, each audience member will feel he or she is
tion-and therefore rich dramatic possibilities-make clear
being addressed
choices as to who is in opposition to whom.
60 & 61
FILM DIRECTING TIPS
' Elements of Staging
directly. A slightly angled address prevents this, if you
Note, too, that there are many forms of royalty to whom
want it prevented.
this reactive behaviour might apply. In his realm, for
instance, Al Capone was royalty.
101. Stand up.
Seating an actor suggests along, boring scene will follow. If
104. An audience's interest in the action is only as high as the
you can find a credible excuse for the actors to stand, use it.
actors' interest in it.
(Lighting a cigarette or pouring a drink have often been
Keep an eye out for disinterested responses such as
used for this purpose, albeit now with heavy cliché baggage
yawning or an actor's gazing upon anything other than what
attached.)
the audience should be looking at.
Watch extras in large groups, especially. They fre-
102. Don't stand still.
If for some reason the actor must remain in place, there
quently steal vital focus by being negative listeners, hating
must be meaning and intention in the nonmovement. The
everything they hear.
standing character must either be interested or repelled. She
Here's the rule: Listener reactions that are positive
must desperately want to move, but cannot. Or she is
and interested focus audience attention on the speak-
immoveable, adamant, standing as if reaching the stars and
er. Listener reactions that are negative and disinterested
sky. Or she is moved to stillness.
steal attention away from the speaker and toward the
105. Listening is active. listener.
The audience should (usually) know how the characters feel
103. Sit down, if you're up to it.
Royalty sit in chairs, not on stairs, floors, or boxes. They
about what they're hearing. Feelings are conveyed through
always walk in straight lines, regardless of who is in their
the body: Yes, I agree with that (and so I will approach); no,
way. It is the reaction of others that defines royal status:
I disagree somewhat with that (and so will retreat slightly);
nonroyalty get out of the way...fast. The alternative is
I'll shut-up here (and let my hesitation cause my opponent to
certain and sudden death.
62 63
Elements of Staging
FILM DIRECTING TIPS
necessary to continually remind the actors to keep their hats
squirm); I'll threaten with an approach there ...(Recall 54.
and their heads up.
The strength of the characters' wants equals the strength of
the play, and j. Ask: Is it nice or nasty? Big or little?)
109. Style has its reasons.
Elements of style are best applied with intention, purpose,
106. Character reactions should be active and
and meaning-not as ends in themselves.
outward, not passive and inward.
A character in a Restoration drama, for instance, bows
with open palms extended away from his body to
ACTIVE: "Don't do that!
demonstrate he has no weapons. Ironically, this may also
indicate he still wants them, needs them, or has them
PASSIVE: "Oh, don't do that!"
hidden somewhere.
A woman desperately waving a perfumed handkerchief
107. Turn your back. [ Pobierz całość w formacie PDF ]
zanotowane.pl doc.pisz.pl pdf.pisz.pl exclamation.htw.pl
assets: good jokes and a had attitude. You need both because
good jokes will sometimes fall flat. Blame it on the weather,
the delivery, the time of day. No matter-the performer will
need something else to fall back on. Rude or quirky behaviour
works just fine.
56
Elements of Staging
95. If it moves, the eye will follow.
To control the audience's gaze, put an object in motion. No
eye can resist.
This is a critical tenet of stage direction since the
audience is free to look wherever they like.
If more than one object is in motion at the same time,
the eye will track to whichever object was most recently set
in motion or was most newly revealed by the motion. When
motion is combined with sound, however, the eve will look
in that direction regardless of whatever else might he
happening.
A shift in light will also appear as movement to the eye
and is among the director's most powerful tools for
controlling the audience's focus.
96. Every object tells.
In a properly created on-stage world, nothing is extra
FILM DIRECTING TIPS
Elements of Staging
and nothing is missing. (Recall 13. Realize that the end is in 98. When few characters are on stage in a large space,
keep them apart.
the beginning.)
Space between characters creates tension as well as greater
To paraphrase Chekhov, "Never hang a musket over the
fireplace in Act i unless someone gets shot in Act iii." That possibilities for physical and psychological maneuvering.
When blocking, imagine an elastic band connects the
is, do not create visual anticipation without exploiting it.
Playwright Romulus linney stated this same idea more characters. When they come together, the tension is gone,
strongly: "Everything on the set should be used up, burned the chase is over. (Recall s. The strength of the characters'
wants equals the strength of the play.) Look for ways and
up, blown up, destroyed, or otherwise completely
chemically altered over the course of the story or else it reasons to separate them, to reestablish the tension, the
chase, the very reason for watching.
didn't belong there to begin with."
97. Love triangles.
Two actors on stage establish a single visual relationship.
99. Imbalance adds interest.
Bilateral symmetry can be boring. Unbroken lines can be
Add just one more actor and you have up to seven
boring. This is true for sets, furniture, and actor placement.
relationships: one relationship between any two of the
Severity, balance, and formality have dramatic value in
individuals (that's three relationships), one for each of the
specific instances, but not generally.
possible pairings of two individuals in opposition to the
In staging the play, value the diagonal, the visual
third (that's three more), plus the unique relationship that
interruption, the rough.
exists between all three.
100. Choose a facing angle. When an actor faces an audience
Look for threes. When you have a triangular situa-
straight on, each audience member will feel he or she is
tion-and therefore rich dramatic possibilities-make clear
being addressed
choices as to who is in opposition to whom.
60 & 61
FILM DIRECTING TIPS
' Elements of Staging
directly. A slightly angled address prevents this, if you
Note, too, that there are many forms of royalty to whom
want it prevented.
this reactive behaviour might apply. In his realm, for
instance, Al Capone was royalty.
101. Stand up.
Seating an actor suggests along, boring scene will follow. If
104. An audience's interest in the action is only as high as the
you can find a credible excuse for the actors to stand, use it.
actors' interest in it.
(Lighting a cigarette or pouring a drink have often been
Keep an eye out for disinterested responses such as
used for this purpose, albeit now with heavy cliché baggage
yawning or an actor's gazing upon anything other than what
attached.)
the audience should be looking at.
Watch extras in large groups, especially. They fre-
102. Don't stand still.
If for some reason the actor must remain in place, there
quently steal vital focus by being negative listeners, hating
must be meaning and intention in the nonmovement. The
everything they hear.
standing character must either be interested or repelled. She
Here's the rule: Listener reactions that are positive
must desperately want to move, but cannot. Or she is
and interested focus audience attention on the speak-
immoveable, adamant, standing as if reaching the stars and
er. Listener reactions that are negative and disinterested
sky. Or she is moved to stillness.
steal attention away from the speaker and toward the
105. Listening is active. listener.
The audience should (usually) know how the characters feel
103. Sit down, if you're up to it.
Royalty sit in chairs, not on stairs, floors, or boxes. They
about what they're hearing. Feelings are conveyed through
always walk in straight lines, regardless of who is in their
the body: Yes, I agree with that (and so I will approach); no,
way. It is the reaction of others that defines royal status:
I disagree somewhat with that (and so will retreat slightly);
nonroyalty get out of the way...fast. The alternative is
I'll shut-up here (and let my hesitation cause my opponent to
certain and sudden death.
62 63
Elements of Staging
FILM DIRECTING TIPS
necessary to continually remind the actors to keep their hats
squirm); I'll threaten with an approach there ...(Recall 54.
and their heads up.
The strength of the characters' wants equals the strength of
the play, and j. Ask: Is it nice or nasty? Big or little?)
109. Style has its reasons.
Elements of style are best applied with intention, purpose,
106. Character reactions should be active and
and meaning-not as ends in themselves.
outward, not passive and inward.
A character in a Restoration drama, for instance, bows
with open palms extended away from his body to
ACTIVE: "Don't do that!
demonstrate he has no weapons. Ironically, this may also
indicate he still wants them, needs them, or has them
PASSIVE: "Oh, don't do that!"
hidden somewhere.
A woman desperately waving a perfumed handkerchief
107. Turn your back. [ Pobierz całość w formacie PDF ]