From the AACT Resource Library

An Introduction to Stage Direction

Stage direction is one of the most crucial elements in bringing a play to life. Mastering its
subtleties is what separates an engaging, believable production from an awkward, unrealistic
one.

It begins with the guidance provided in the script by the playwright about how the actors
should move and deliver their lines on stage. These stage directions set the tone, mood, and
physicality of each scene. They suggest how the director and actors can work to fulfill the
playwright's vision for the performance. Detailed stage directions may also describe the
staging, props, lighting, sound effects, and other elements that contribute to the overall
atmosphere.

That said, every production is shaped by the theatre space itself, sets and lighting, the actors,
and, most importantly, the director’s own vision for the production.

The Director's Role

The director is responsible for interpreting the script and guiding the artistic vision of a
production. They choreograph blocking, movement, and character interactions to shape the
audience's emotional experience, conveying meaning and bringing the writer's ideas to life.

Key responsibilities of the director include:

• Analyzing the script to understand story, themes, characters, and the writer's intent.
• Casting actors that fit each role and eliciting powerful performances. The director
coaches actors on motivation, relationships, and subtext.
• Collaborating with designers to create a unified aesthetic for sets, lighting, costumes,
and sound. The director approves design choices to match their vision.
• Blocking scenes and choreographing movement to punctuate dramatic moments. The
director uses the stage space to highlight power dynamics and relationships between
characters.
• Controlling pacing and emphasis to modulate the audience's emotional journey. The
director may adjust the delivery pace or staging in certain scenes.
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• Unifying all elements of production to realize a compelling artistic vision. The director
ensures consistency across acting, design, and technical elements.

Through insightful interpretation and creative stagecraft, the director brings the production to
life using strategic stage direction. Their vision shapes the audience's understanding and
experience of the play.

Blocking
Blocking refers to the precise movement and positioning of actors on a stage during a
performance. It is one of the most important jobs of a director to plan and direct blocking
during the rehearsal process.

Blocking serves several key purposes:

• It ensures actors hit their marks and are in the right positions for the audience to see
key moments and interactions. Missing a mark can ruin the illusion or impact of a scene.
• It facilitates the smooth flow of movement and action on stage. Poor blocking can make
movement appear awkward.
• It establishes the relationships between characters based on their proximity and
interactions. Subtle blocking choices can reinforce connections and power dynamics.
• It helps pace the show and transition between scenes or moments. Quick entrances and
exits and smooth scene changes keep the energy up.

Directors will block scenes with the script and stage layout in mind. They determine entrances,
exits, crosses, and movements that make sense spatially while serving the story. Blocking may
go through multiple iterations as the director sees how it plays in rehearsal. Some tips for
effective blocking include:

• Keep movement purposeful and motivated based on characters and story needs.
• Vary blocking to keep it visually interesting, while maintaining sightlines.
• Use levels, interactions, and proxemics to establish relationships.
• Allow actors freedom to interpret blocking and movements in character.
• Ensure actors understand their paths and spacing to avoid collisions.

Blocking is much more complex than just where actors stand and walk. It's an essential
directorial skill that utilizes the stage to maximum dramatic effect.
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Stage Positions
One of the most important aspects of stage direction is determining where actors should be
positioned on stage during various scenes and moments. There are specific terms used to
identify different parts of the stage:

• Downstage - The area at the front of the stage nearest to the audience
• Upstage - The area at the back of the stage furthest from the audience
• Stage Left - The left side of the stage from the actor's perspective facing the audience
• Stage Right - The right side of the stage from the actor's perspective facing the audience
• Center Stage - The middle area of the stage
• Wings - The sides of the stage out of view of the audience
• Offstage - Any area out of view of the audience

The director decides when actors enter from the wings, where they move during scenes, and
how they utilize the space to convey relationships and meaning. For example, a director may
position two characters downstage and close together to represent intimacy, while another
character stands upstage and off to one side to seem more distant. Careful consideration of
stage positions allows the director to block scenes to maximum dramatic and theatrical effect.
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Many directors create a special version of the script, attaching the smaller script pages to
8.5x11” sheets of paper, put into a 3-ring binder. The director (or the director’s assistant)
makes notes in pencil to the side of the spoken lines where movement or placement is done,
such as shown below. While this example includes a diagram of the stage area, simple notations
are often enough.

Setting the Scene

Begin with the stage directions in the script. They are a critical tool for setting the scene and
conveying visual elements to the reader. The playwright uses stage directions to describe the
set design, lighting, and props in detail.

For set design, stage directions indicate the location such as "a park bench" or "inside a castle."
The playwright specifies furniture, walls, doors, and other set pieces. Stage directions also
describe the overall look and feel of the set such as a "minimalist living room" or "a child's
whimsical bedroom."
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Props are called out directly in stage directions, as well. The playwright lists objects actors
interact with like "a glass of wine" or "a letter." Details about the prop's appearance, size, color,
and condition are useful. The more descriptive the stage direction, the easier it is for the props
department to source the correct items, should you choose to go with the playwright’s
suggestions.

Lighting is used to establish time of day, location, mood and more. The playwright uses stage
directions to indicate lighting effects like "a dark gloomy evening" or "soft morning light filters
through the window." The lighting designer analyzes these directions, deciding which
instruments, gels, angles, and intensities to use. The director and designer collaborate to bring
the playwright's vision to life.

Costumes for the characters play an important role, as well. What the character wears can
signal their economic status, personality, profession, and much more. While costume notes are
not always defined in the original script, they need to be taken into consideration. For example,
a woman wearing a dress with a long train may need extra time to enter the stage, to seat
herself, or to climb steps. Work closely with the costume designer to make sure that costumes
convey what you believe is necessary to support the author’s (and your) vision.

The director’s detailed stage directions entered into the working script allow them and
designers to vividly imagine the world of the play. They function as a way to establish your
particular vision of the play—and the theatre space and budget you have. They also function as
a record of what has been done, making the annotated script an essential reference document.

Sound and Music

Incorporating sound effects and music can be a powerful way to enhance the emotional impact
of a scene or dramatic moment in a play. As a director, you can write sound and music cues
directly into your script. This allows you to work out timing and guide the sound designer.

When writing directions for sound, be specific about volume, duration, and emotional tone.
Consider rhythm as well - speed up the action with rapid, jarring sound effects, or slow it down
with drawn-out notes.

Well-placed music and sound effects can build tension, surprise the audience, and dramatically
punctuate pivotal scenes. As director, experiment with incorporating audio elements that
enhance the overall theatrical experience.
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Conveying Emotion
Stage directions provide crucial guidance for actors on how to perform each scene and convey
the intended emotions. They help make the characters' inner feelings tangible and relatable.
Rather than vaguely telling actors to be "sad" or "angry," good stage directions get more
specific about the emotion's context, intensity, and physicality. Use them as a starting point in
how you wish to convey not only the emotions of the characters, but the emotions you want
the audience to experience.

Some tips for conveying emotion through stage direction:

• Contextualize the feeling - Don't just say a character is "afraid." Explain what is making
them afraid based on the story. Ex: "Jillian hesitates by the door, afraid to walk into the
party alone."
• Vary the intensity - Convey a range from subtle to strong emotions. Example: "Todd
shakes his head angrily" vs. "Todd slams his fist on the table, face red with rage."
• Describe physicality - Use body language and actions to show the emotion. Example:
"Lisa's eyes fill with tears" or "Tyler shrinks back nervously."
• Set the pace - Draw out the emotion with slow, deliberate stage directions or make it
quick like a burst of anger.
• Use comparisons - Similes and metaphors help convey strong sensory context for the
emotion. Example: "She trembles like a fallen leaf."
• Tap into sensations - Describe chills, blushing, goosebumps, muscle tension, etc. to help
actors embody the feelings.
• Consider motivation - What reason or experience drives the character's emotional state
in the scene?

By crafting emotionally evocative stage directions, you help your actors connect to motivation
and subtext. In turn, audience members get to deeply experience the story's emotional arcs.
Specificity and vivid details are key to translating feelings from the page to the stage.

Rehearsal Techniques for Effective Stage Direction

Rehearsals are the backbone of any successful theatrical production. They provide the space
and time for actors, directors, and designers to explore the intricacies of the script and bring
stage directions to life. Effective rehearsal techniques can make or break the delivery of stage
directions, ensuring that movements and emotions come across as genuine and impactful.

The director coaches the actors through all elements of their performance, including stage
direction. Blocking is planned out collaboratively to suit the actors' movements and abilities.
The director guides emotional delivery and pacing to evoke the desired audience response.
Allow actors input, but keep them reigned into your cohesive vision. Be open to creative
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solutions they devise for staging difficulties. Treat actors with respect, and they'll trust your
direction.

Foster collaboration by allowing time for table reads and discussions. Challenging an actor's
choices should be done privately to avoid undermining them. Actors want to fulfill their
potential, so directing with insight helps elevate their performance.

Table Reads and Script Analysis

As the name suggests, the actors

and director gather around a
large table and read through the
script. This gives the cast an
initial understanding of the script
and the director’s vision for the
production. The process allows
actors to familiarize themselves
with their characters and form
initial interpretations of their
lines and movements. They also
get to know their fellow actors,
and begin the bonding process
essential to a theatrical team.

Blocking Rehearsals: These

rehearsals focus on the movement
and positioning of actors on stage.
Rehearsing the blocking helps
actors internalize their marks,
understand spatial relationships,
and practice interacting with
props and set pieces.
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Run-Throughs: Whether
for a full act, or the entire
show, a run-through helps
identify issues in staging,
timing, and execution of
stage directions. These
rehearsals are essential for
fine-tuning the production
and ensuring smooth
transitions between
scenes.

Technical Rehearsals: These focus on integrating technical elements such as sets, props,
lighting, sound, and special effects with the actors' movements and stage directions. Usually
done about a week before opening (along with costumes), these ensure that these elements
are synchronized to create a cohesive performance.
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Feedback: Constructive feedback throughout

the rehearsal period is crucial for refining
performances. Directors provide notes on how
actors can better execute stage directions,
adjust their blocking, and enhance their
emotional delivery.

Pacing and Rhythm

The pace of a play can make or break the audience's engagement and experience. As a director,
you have a lot of control over pacing through effective stage direction. Consider the pace and
rhythm of each scene, transition, and the play as a whole.

• Don't let things drag or rush too quickly. Use stage direction strategically to speed up or
slow down the action.
• You can pick up the pace with quick entrances and exits or interruptions.
• Slow things down by inserting pauses, silent reactions, or longer transition times
between scenes.
• Vary the pace to build dramatic tension and provide release.
• Recognize climactic moments that need to flow rapidly.
• You can also use sound, lighting, and staging to influence pace and rhythm.

Finding the right tempo is key to captivating the audience. Make conscious choices with
pacing to shape the dramatic arc and keep viewers invested from start to finish. The right
rhythm resonates on an emotional level.

Collaborating
Staging a play or musical is a team effort. The director must collaborate closely with the
designers, cast and crew to bring the script to life. Though the director holds the vision for the
production, it is realized through collaboration and compromise.

While blocking and line readings can be changed as late as final dress and technical rehearsals,
sets, lights, sound, props and costumes must be set early in the process. That’s why it’s
important to bring designers and crew into the process as early as possible. A costume designer
cannot be working in pastels, while the set designer is working in earth tones, for example.
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(And yes, it has happened.) It’s the director’s job to communicate their vision for the
production to everyone involved, and to work closely with everyone involved in the production
to make sure that vision is supported.

Resources for Learning & Implementing Stage Direction

Stage direction is a complex craft that requires extensive study and practice. Here are some of
the best resources for aspiring directors looking to hone their skills:

Books

• The Director's Craft: A Handbook for the Theatre by Katie Mitchell - An in-depth
examination of the director's process, from text analysis to opening night. Includes
exercises and checklists.
• Creative Play Direction by Robert Cohen - A classic handbook covering all aspects of
directing, from working with actors to design collaboration.
• Carver's Manual on Community Theatre Directing: A Step-By-Step Approach, by James
C Carver This book has the information many directors wish they'd had when they
began The author has long experience in community theatre, and understands the
limitations inherent in staging a play with volunteers, and making do with what you
have.
• Backwards & Forwards: A Technical Manual for Reading Plays, by David Ball. The
classic is full of tools to use as you investigate plot, character, theme, exposition,
imagery, conflict, theatricality, and the other crucial parts of the superstructure of a
play. Also included are guides for discovering what the playwright considers a play’ s
most important elements, thus permitting interpretation based on the foundation of
the play rather than its details.
• The Viewpoints Book by Anne Bogart and Tina Landau - A guide to the Viewpoints
improvisational and ensemble-building techniques.

Courses

• Many colleges and universities offer degree programs or individual classes in stage
directing. These provide hands-on experience with student actors.
• Some theater companies host directing workshops and masterclasses.
• Online courses at sites like Udemy and The Barrow Group teach directing fundamentals
through video lessons.

Apps for theater

• Digital script annotation tools like ProductionPro and StageWrite streamline

collaborating with actors and designers.
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• Stopwatch apps help directors time scenes and plan pacing during rehearsals. One
popular choice is Show Stopwatch.
• Prompt book apps organize all cues, notes, and blocking in one place for the director
and stage manager. These include Stage Write and Show Stopwatch (above), as well as Cue to
Cue (shown below), PromptPad, and others. These function as digital versions of a traditional
prompt book, allowing users to annotate scripts, track cues, manage blocking, and organize
production details all within a digital interface on a tablet or smart phone.

The resources above are invaluable for developing the diverse skills stage directors require,
from technical knowledge to storytelling artistry. Aspiring directors should avail themselves of
books, courses, and software to be able to direct productions with confidence and vision.