The director
Theatre directors have responsibility for the practical and creative interpretation of a script or musical
score which will connect with the audience. The director guides the technical crew and performers to
fulfill the vision, they also have a key role in choosing cast members, production design, and the creative
aspects of the theatre production.
The director must be able to envision the play’s atmosphere or mood and know how to actualise in
terms of design and theatricalise space. Before rehearsals begin, the director meets the designers.
At this point the director gives his or her vision, but also listens to ideas, however the directors decides
upon the interpretation to be used. The director must be aware of the actor’s movement when viewing
a design, also must have an idea of what kind of lighting would help enhance the mood of the production.
( The Essential Handbook)
score which will connect with the audience. The director guides the technical crew and performers to
fulfill the vision, they also have a key role in choosing cast members, production design, and the creative
aspects of the theatre production.
The director must be able to envision the play’s atmosphere or mood and know how to actualise in
terms of design and theatricalise space. Before rehearsals begin, the director meets the designers.
At this point the director gives his or her vision, but also listens to ideas, however the directors decides
upon the interpretation to be used. The director must be aware of the actor’s movement when viewing
a design, also must have an idea of what kind of lighting would help enhance the mood of the production.
( The Essential Handbook)
When casting a play, the director is aware that physical appearance must fit the character and must also
be seen in relation to other characters. The direction also tries to discern acting potential in his book
theatre, (Robert Cohen) describes traits that a director often looks for:
be seen in relation to other characters. The direction also tries to discern acting potential in his book
theatre, (Robert Cohen) describes traits that a director often looks for:
“Depending on the specific demands on the play and rehearsal situation, the director may pay
special attention to any or all of the following characteristics. Training, experience, vocal technique, suitability for the style of the play. Personality traits which seem fitted to the material
at hand. Liveness and stage presence, pasted record of achievement, general department and
attuite.” (musical stages)
special attention to any or all of the following characteristics. Training, experience, vocal technique, suitability for the style of the play. Personality traits which seem fitted to the material
at hand. Liveness and stage presence, pasted record of achievement, general department and
attuite.” (musical stages)
The directors task is to rehearse the actors. He needs to be organised and focused, read the script with
the actors, he must see the actors as a person and help draw out that person’s potential. He discusses
costume and make up with makeup artists and costumes department. The director then looks at the
scenery, lights and sound these all come together at the first technical rehearsal (dress rehearsal with
make-up).
the actors, he must see the actors as a person and help draw out that person’s potential. He discusses
costume and make up with makeup artists and costumes department. The director then looks at the
scenery, lights and sound these all come together at the first technical rehearsal (dress rehearsal with
make-up).
The best the director can do after this is to wish people well, sit and watch the performance,
know every flaw during the performance and sweat it out. In short, the directors is the glue that
holds all accepts of the performance together.
know every flaw during the performance and sweat it out. In short, the directors is the glue that
holds all accepts of the performance together.
Set design
There are many people involved in the set design of a theatre production.
· Set designers: Talks to the director to get an understanding of the visual and stylistic
elements of set, furniture and props.
elements of set, furniture and props.
· Builds a scale model of the set and makes a ground plan and working drawing to
visualise the ideas contained in the design.
visualise the ideas contained in the design.
· Works along side the director, the costume and lighting designers to gain a visual
cohesion throughout the whole design.
cohesion throughout the whole design.
· Works with the production manger to keep the design on budget, also to make sure
every effort has been made to provide a safe environment for the performers to work in.
every effort has been made to provide a safe environment for the performers to work in.
· Oversees the building and painting, is involved with the dress rehearsal to check the
original intentions are realised.
original intentions are realised.
Master carpenter:
· Responsible for building the set in the time frames given.
· Overseas and helps all work done by assistances.
· Works within health and safety regulations.
· Makes sure the budget is withheld.
· Delivers the set.
· In charge of quality control of the work carried out,
Scenic painter
· Interprets the directors vision.
· Health and safety in the paint shop.
· Controls paint budget.
Props master
· Runs the prop shop.
· Delivering props in allocated time.
· Health & safety in prop shop.
· Assists stage management with props.
Together these people above ensure all sets, props and painting runs smoothly by involving costume
and makeup and instructions from the director. By talking to each other and getting ideas by conversation
they create a creative set to bring to life the play that is their objective. (The Essential Handbook)
and makeup and instructions from the director. By talking to each other and getting ideas by conversation
they create a creative set to bring to life the play that is their objective. (The Essential Handbook)
Lighting designer
Lighting designers know how to make the best use of light, creating effects that can be changed at will.
· Lighting designer: Work alongside director, costume and makeup department.
· Create the appropriate mood.
· Shift emphasis from one stage to another.
· Makes objects on stage appear flat or three dimensional.
· Blend the visual elements on stage together.
The lighting designer will meet with the director and the design set (costume, make up he needs to
understand the director’s interpretation of the play. Costume and lighting meet up to work together to
ensure the creation of a unified look and feel for the production.
understand the director’s interpretation of the play. Costume and lighting meet up to work together to
ensure the creation of a unified look and feel for the production.
“In the production of wicked “it took 650 lighting fixtures and a talented team of theatre artists and
technicians to light up with wicked style” (Kenneth Posner) lighting designer)
technicians to light up with wicked style” (Kenneth Posner) lighting designer)
In lighting you also need an electrician who is responsible for:
· Manages the smooth running of the electrical department.
· Manges the department’s budget.
· Responsible for rigging, focusing and plotting in the allocated time.
· Health and safety of his workers.
Light used in a clever way can make an audience concentrate on chosen areas of the stage action and
can also be used to conceal as well as reveal. It can also help to create an atmosphere, also it creates
the mood with low lighting and bright lighting adding to the magic of the play. (The Essential Handbook)
can also be used to conceal as well as reveal. It can also help to create an atmosphere, also it creates
the mood with low lighting and bright lighting adding to the magic of the play. (The Essential Handbook)
Costume designers
The role of the costume designer is to;
· Collaborate with the director and is responsible to the producer and directors.
· Research time period and accuracy in costumes needed.
· Take measurements of all cast members.
· Buys, rents or borrows costumes and accessories (shoes, hats, gloves, jewellery etc.
· Coordinates dressers for costume changes.
· Arrange to repair and clean costumes during the run.
· Works within the budget.
· Distinguish between major and minor characters by costume design.
The costume designer needs to work closely with a number of other departments in the production i.e.
director, make-up, set design and wig designer to be able to bring each character alive and to make sure
every performer has all his/her costumes ready for each costume change during the production.
director, make-up, set design and wig designer to be able to bring each character alive and to make sure
every performer has all his/her costumes ready for each costume change during the production.
Costume designers need to have a creative image in their head when given the script to read so that they
can provide drawing which can go to the head of wardrobe for casting. (The Essential Handbook)
can provide drawing which can go to the head of wardrobe for casting. (The Essential Handbook)
Canadian designer (Judith Bowden) states on her job as a costume designer; “I take my cues from the
characters and their surroundings as written in the play, as well as from the stylistic choices of the
production. In the same way that an actor builds upon the framework of traits and actions of his/her
character in the story. I read what the character does and says for clues about what they might wear.
I also need to think about how best to reflect a character’s evolution though the development of the story. Sometimes the character is the best served by creating contrast between how a character behaves and what he/she looks like”.
characters and their surroundings as written in the play, as well as from the stylistic choices of the
production. In the same way that an actor builds upon the framework of traits and actions of his/her
character in the story. I read what the character does and says for clues about what they might wear.
I also need to think about how best to reflect a character’s evolution though the development of the story. Sometimes the character is the best served by creating contrast between how a character behaves and what he/she looks like”.
Hair and wigs
When people think of characters in plays or musicals etc what comes to mind is the mental images of
the actor’s face and hair and the costumes they wear. All the departments communicating with each other.
Sometimes the make-up artist is also the hairdresser/wig maker and with a team of assessments
oversee the smooth running of all these elements.
the actor’s face and hair and the costumes they wear. All the departments communicating with each other.
Sometimes the make-up artist is also the hairdresser/wig maker and with a team of assessments
oversee the smooth running of all these elements.
Where the wigs are concerned skills needed are;
· Re-fronting wigs
· Making postiches
· Cleaning of wigs
· Maintenance of wigs
· Period hairstyles and barbering.
(Paul Huntley)(wigs and hair for cats) states; “ It’s really very good for the wigmaker to know about
dressing hair”, he said you start as a wigmaker then you become a hairdresser. “In other words, you
learn to address the hair”.
dressing hair”, he said you start as a wigmaker then you become a hairdresser. “In other words, you
learn to address the hair”.
The hair and wig maker needs to have a good knowledge of the script and engage in conversation with
the director, lighting, set design, make-up and also the performers of whom we will talk about next in
this report. (musical stages)
the director, lighting, set design, make-up and also the performers of whom we will talk about next in
this report. (musical stages)
Performers
Actors and performers from the chorus to the lead roles all are very important they tell they story and
make it believable, bring it to life the way the director/ writer advises how it should be done. The skills
needed to be a good performer;
make it believable, bring it to life the way the director/ writer advises how it should be done. The skills
needed to be a good performer;
· Performance skills (dancing, singing, acting)
· Confidence
· Quick leaner
· Creativity
· Stamina
· Self-reflective
· Flexibility
· Team player
· Open minded
Performers work with the creative and production teams, other performers to create a performance which connects with the audience. An actor must be able to adapt to a script, work with the writers collaborating with playwrights. All performers must go though the auditions process, the people who will do this
is the casting directors and stage managers, once selected the performers needs to work
on set designer, lighting designer, director, stage manger and other cast members also costume design.
With rehearsals and working together with all different departments working on the production an
actor develops his/her characters. Actors must bring their own imagination and acting techniques to
bring their characters alive, they have to consider what voice their character will have by using the
script to work out the characters personality. Working with hair, make-up and costume design the
character begins to come alive though the performers acting skills.
Meryl Streep "Acting is not about being someone different. It is finding the similarity in what is apparently different, then finding myself in there" (Broadway world)
Wigs and makeup designer/supervisor
The supervisor will oversee and are in charge of the whole look of the show. They do this by making sure all tasks that are required to be completed during pre-production and production phases are done. Making sure time management is taken into consideration and making sure everything is running smoothly. They also oversee that budget, stock, schedules health and safety are all doing what they need to be doing to get the show running. They also need to consider hygiene, performer care, skin care, design, face charts are all completed to a great standard for the show. Throughout the pre-production, they will have to have a lot of meetings with other members of the production including the director making sure that everything is to there satisfactory and the way they vision it. Time management comes in here as they will need to have these meetings planned so there would be time to change anything needed in time.
Head of makeup department (HOD)
The head of department of ‘HOD’ for short is in charge of everyone throughout the production. They are quite similar to the supervisor however they are in charge of everyone during the production, not pre-production. They make sure the actual shows run smoothly and time management is perfect so nothing is delayed in the production. They make sure all the problems that pop up disappear and are solved. They need to make sure that everyone knows the schedule and what times they have to be where. They need to know who is doing what makeup at what time and who on so that if anyone is Absent they can sort a replacement out. They also make sure all the stock is prepared and ready to use and everyone is ready for each show and they all know what they are supposed to be doing. They also need to motivate the team and make sure they are all working to there fullest potential!
Deputy head of wigs and makeup
The deputy to the HODs will need to makeup sure they are available to fill in for the HODs in case they can't be there. They will need to ensure they know what's happening during the planning process so they understand and have the same knowledge as the HODs so they know how to deal with situations in the same way. They have to be able to run all the shows they're not there and they have to take charge over the other makeup artists to make sure the overall look is at a continuous standard from the other shows.
Assistant wig and makeup artist
The assistant wig and makeup artists job is to take care of any remaining makeups that are required for the production. They can also help out with any designs or face charts that may be needed for production. They can ask there HOD or supervisor during pre-production if anything needs to be done and they can help out with various tasks.
Paul Huntley(wigs and hair for cats) states; “ It’s really very good for the wigmaker to know about
dressing hair”, he said you start as a wigmaker then you become a hairdresser. “In other words, you
learn to address the hair”.
is the casting directors and stage managers, once selected the performers needs to work
on set designer, lighting designer, director, stage manger and other cast members also costume design.
With rehearsals and working together with all different departments working on the production an
actor develops his/her characters. Actors must bring their own imagination and acting techniques to
bring their characters alive, they have to consider what voice their character will have by using the
script to work out the characters personality. Working with hair, make-up and costume design the
character begins to come alive though the performers acting skills.
Meryl Streep "Acting is not about being someone different. It is finding the similarity in what is apparently different, then finding myself in there" (Broadway world)
Wigs and makeup designer/supervisor
The supervisor will oversee and are in charge of the whole look of the show. They do this by making sure all tasks that are required to be completed during pre-production and production phases are done. Making sure time management is taken into consideration and making sure everything is running smoothly. They also oversee that budget, stock, schedules health and safety are all doing what they need to be doing to get the show running. They also need to consider hygiene, performer care, skin care, design, face charts are all completed to a great standard for the show. Throughout the pre-production, they will have to have a lot of meetings with other members of the production including the director making sure that everything is to there satisfactory and the way they vision it. Time management comes in here as they will need to have these meetings planned so there would be time to change anything needed in time.
Head of makeup department (HOD)
The head of department of ‘HOD’ for short is in charge of everyone throughout the production. They are quite similar to the supervisor however they are in charge of everyone during the production, not pre-production. They make sure the actual shows run smoothly and time management is perfect so nothing is delayed in the production. They make sure all the problems that pop up disappear and are solved. They need to make sure that everyone knows the schedule and what times they have to be where. They need to know who is doing what makeup at what time and who on so that if anyone is Absent they can sort a replacement out. They also make sure all the stock is prepared and ready to use and everyone is ready for each show and they all know what they are supposed to be doing. They also need to motivate the team and make sure they are all working to there fullest potential!
Deputy head of wigs and makeup
The deputy to the HODs will need to makeup sure they are available to fill in for the HODs in case they can't be there. They will need to ensure they know what's happening during the planning process so they understand and have the same knowledge as the HODs so they know how to deal with situations in the same way. They have to be able to run all the shows they're not there and they have to take charge over the other makeup artists to make sure the overall look is at a continuous standard from the other shows.
Assistant wig and makeup artist
The assistant wig and makeup artists job is to take care of any remaining makeups that are required for the production. They can also help out with any designs or face charts that may be needed for production. They can ask there HOD or supervisor during pre-production if anything needs to be done and they can help out with various tasks.
Paul Huntley(wigs and hair for cats) states; “ It’s really very good for the wigmaker to know about
dressing hair”, he said you start as a wigmaker then you become a hairdresser. “In other words, you
learn to address the hair”.
Bibliography
Cohen Robert 2013 Theatre mc Graw-Hill Education.
Reid Francis 1989 Designing for theatre AC Black (publishes Limited) London
Scott-Cassin Jack 1998 The stage costume source book Wellington House London
Stage management The Essential Handbook
New Edition 2010 London
References
www.aact.org
http/book.google.co.uk
DGS drama department
www.edubuzz.org
www.Joiletdramaguild.org
www.musicalstages.co.uk
www.theatrecrafts.com
www.thoughts.com
https://www.broadwayworld.com/people
https://www.broadwayworld.com/people
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