Director’s Notebook

The main body of your notebook should be structured using the following subheadings:

  1. The play text, its context and the ideas presented in the play
  2. My artistic responses, creative ideas and explorations for the entire play prior to the forming of directorial intention
  3. My own experiences of live theatre as a spectator and how directors use performance and production elements
  4. My directorial intentions for the entire play and the intended impact on an audience
  5. How I would stage two moments of the play

Section 1

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Researching and understanding context – if you can’t find a tv documentary about your playwright – try some radio archives. Here’s a great 43min discussion about Ibsen: https://www.bbc.co.uk/sounds/play/b0b42q58

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Want to see how other director’s have appoached your chosen text?

Try watching a trailer if you can’t find the whole show: Screenshot 2019-02-11 at 14.01.54.pnghttps://www.youtube.com/watch?time_continue=54&v=vYW2UHFeTGc

The Good Person of Szechwan by the Moscow Pushkin Drama Theatre. Yury Butusov’s modern-dress version of Brecht’s parable play is punchy and vigorous

The Actioning technique:

https://ibtheatrereadingroom.wordpress.com/2018/04/11/actioning/

Actors discuss Part 1: Stanislavski’s method of physical actions

How Simon Mayo discovered a 19th-century inmate who staged UK’s first all-black Shakespeare

Like all first-rate directors, Brook believes in what Blake once called “the holiness of the minute particular”…No living director has done more, both through his work and through his 1968 book The Empty Space, to change our perception of theatre than Peter Brook: to reinforce the centrality of the shared experience, to clear the stage of clutter and to realise the need for ecstasy. https://www.theguardian.com/stage/2011/mar/16/peter-brook-magic-flute-interview

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http://libguides.westsoundacademy.org/directors_notebook