staging

 

             Who is the aggressor? That's the question that decides the staging.

  1. A director should not put actors on marks per say.
  2. About a fight: any possibility of getting hurt, you must choreograph it. Can't be out of control but look out of control.
  3. Actors "stage" the scene. The word "blocking" does not exist anymore.
  4. Actors want to sit down, try not to sit down. Don't do conventional stage things, just standing, just sitting. Not enough difficulty.
  5. Be a well trained actor. Director won't tell you. A good director will say: 'let's try it'. He won't tell you marks until after actors do it.
  6. Be in middle of activity.
  7. Can't follow each around with quiet, quiet talk. Whenever you can stand still, think, emotion and objective, then move when you have to.
  8. Do not move on other person's lines.
  9. Do the things that are the unspoken word.
  10. Don't confine people to sitting if possible.
  11. Do the things that are the unspoken word.
  12. Don't do things twice, (if she knells before him once), second time isn't dramatic.
  13. Drama: one person move at a time, wait for one to stop.
  14. Explore what the hell happens, don't say sit here or there.
  15. Eye of audience is effected by monotony, not one actor right and one actor left all the time.
  16. Films. Hire the best actors and let them loose on the set. That is it. And most of the time there is very little to change if you choose the right actors and that they understood the scene. That was it. That is the best kind of staging.
  17. Find my way on stage.
  18. Find interesting things to do then stay with it.
  19. Find stuff to do that furthers your character.
  20. For the director, the best staging comes from good actors.
  21. From the emotion comes the imagination and from the objective comes the staging.
  22. Give yourself playing area.
  23. Good moves comes from the actors. Director gives green and red light.
  24. Go the short distances in staging. Don't think funny.
  25. How will the words look in 3 dimension? Moving around, etc.
  26. Impulses will stage the scene.
  27. In staging, be a well trained actor, a director won't tell you. A good director will say, "let's try it". He won't tell you marks until after actors do it.
  28. It looks like too much staging.
  29. It's like a chef planning a meal. He doesn't serve you the same thing. If you start with a asparagus, is the main course asparagus, does he give you asparagus fruit, does he end up with asparagus cake.
  30. Language play - can't move all over, just speak.
  31. Make the enemy in one direction.
  32. Moves come from the actor.
  33. Moving when you feel like it, don't do staging.
  34. No staging, give yourself playing area, otherwise you get stuck.
  35. Pattern of behavior - she gets hold of him - he gets away - then stage the scene.
  36. Physical behavior moves staging.
  37. Playwright: sees a result in his head, applies it into dialogue. We can't know how he staged it.
  38. Rise with a reason, that is what your emotion is for.
  39. Stage only for meaning, the content of the scene.
  40. Stage the moment, ("I want the cigarette.")
  41. Staging "Go the short way".
  42. Staging based on principles.
  43. Staging: be a well trained actor. Director won't tell you. A good director will say: 'let's try it'. He won't tell you marks until after actors do it.
  44. Staging comes from actor's initiative.
  45. Staging comes from actors: impulses. Can't be physical static.
  46. Staging comes from the actors: What is my position, am I the aggressor?
  47. Staging from principles.
  48. Staging is not just an interesting place for people telling the story, look at behavior.
  49. Staging it to make pictures to tell the story. Give yourself playing area. What can be done at the moment, the objective, what are people doing to each other. Act overcoming objective, what do you want?
  50. The inners: staging comes from actors.
  51. Walk, show back.
  52. What's wrong with it is: staging a scene has a plan, understand a plan.
  53. When a thing is a division you must show division, when they're together, it doesn't work.
  54. Whenever you can stand still, think, emotion, objective, move when you have to.
  55. Whole element behavior, lift it off pages. (He is) aggressor.
  56. You must decide on a house: so staging doesn't become static, having no playing area.

"In the end, it can't look like acting."