There are so many different ways in which you can direct theatre productions. No one way is the ‘right way’. Whilst on the course you will have the opportunity to observe different directors and the methods they employ, it is then up to you to take from those methods the way that is best suited to you.
Research is extremely essential to all directing, devising, writing or acting developments. You will be taught basic research skills, using the Internet, libraries, newspapers, biographies, etc.
Setting up an effective rehearsal procedure is essential for any director. We will introduce you to some of the more well-known, tried-and-tested ones as well as pointing out what NOT to do. It has become fashionable for some directors to think they need to ‘break down’ an actor before ‘building’ them back up again. What they fail to understand is that most actors do not respond well to this type of direction. This is based more on the director’s desire for power more than attaining the essential collaboration required for a good director/actor relationship in creating theatre.
Rather than feeling bullied and worthless, the actors needs to feel supported and comfortable with his director. They need to know they are able to take risks without being ridiculed if they fail. They need to be able to ‘play’ in the rehearsal room.
One of the most important skills required by the actor is the ability to connect with the emotional feelings of the character they are portraying and to communicate this to the audience. Directors have to able to understand this, understand how it works, how the actor gets beneath the skin of the character and the courage required to do it in the first place. A good director has the ability to guide his actors through this complex and difficult process.
Various approaches to characterisation using traditional methods, drawn from Stanislavsky, Chekhov and others, and more modern techniques, such as image streaming, under-reading and mind-mapping will be explored.