By: Joanie McElroy
This summer has been atypical for me. Usually I have some major project that requires the movement of furniture and the rethinking of the color scheme of certain rooms in the house. In other words, I tend to repaint the rooms on average about every summer. This summer, I have yet to lift a paintbrush. That isn’t to say I haven’t done any rearranging of furniture, purchased new items for the fireplace mantle and so on. I derive some sense of satisfaction doing this. But why?
What do directors do anyway?
I have concluded that it appeals to my sense of creativity. I need to see the fruits of my labor, be it a different paint color on the wall or a repositioning of the sofa. So, how does directing appeal to my sense of creativity? Isn’t directing more of a logistic or an event--an executive thing as opposed to creative? What creative input do directors have on a play?
How a vision is formed
I can only answer that question for myself. This summer I taught a directing workshop which required me to deconstruct my approach to directing. I had to begin with the beginning, as they say, which is the central conflict of the story. Who is in this play, what do they want, and what is getting in the way of allowing these characters to fill that vacuum? How can I illuminate that vacuum, that conflict? And where do I find the creativity in that?
I find as I am reading and analyzing a play that I begin to visualize the finished product – from the look of the set to lighting to important scenes. I also think about the flow and dynamics of the action.
Directing IS Art!
When I think back upon what influences me in my “art” – my creative input as to the look of the play – there were two major influences: a beginner’s drawing class and choreography.
When I think of choreography, I remember the words, flow, dynamics, depth, static, tension. The movement in dance (and movement ONLY) told the story. How can I take these elements of dance and use them in the movement of a play? Using the height, depth, line, and point of energy on stage allows me to manipulate how an audience will respond to that point of tension from point to point, character to character, or character to object. I can allow the flow to happen, impede the flow, or alter the flow.
One of the best things I remember from drawing is how to manipulate the eye – what do I want my viewer to see? I draw only what I see, but I don’t have to draw everything. What is important? What is irrelevant? What is incidental? And what is essential? Also, how can using shading allow me to highlight the point of focus of the eye? I tell them what to look at; I say, “Here, this is important; See this moment. This is the purpose of the scene.”
Of course, all of this begins with analysis. And in my analysis, I love to find symbols and metaphors. For example, in the play "Strange Snow," the two characters are going fishing. How can I use fishing as a metaphor? How does a scene show a character baiting the hook, waiting for a bite until the moment when, "A ha! You’ve got’em!" Or is it the story of the one that got away? Metaphors and symbols are literary elements you can really grab onto and help answer a lot of questions for your vision.
Payback
I have always been envious of my husband, a guitar player. When he wants to get out his creative energies, he simply picks up his guitar and goes and plays for hours and hours. But me? I've got to mount an entire production! However, after the weeks of rehearsals, analysis, and collaboration and so on, the final product becomes the visual and emotional payback. It’s a long way to go, but it’s sure with the trip!
If you would like to learn more about Directing from Joanie, she will be offering her "Directing Workshop" on Saturday, November 12 and Saturday, November 19th, 2011 from 10:00 AM to 3:00 PM. This is a two-part workshop, with a lunch break. Visit www.onionmanproductions.com to register and for more information. We are offering an early sign up fee of $75!
