Chapter 6: Stage Directions

Published on Nov 20, 2015

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PRESENTATION OUTLINE

CHAPTER 6

STAGE DIRECTIONS
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BACKSTAGE

BEHIND THE STAGE; OUT OF VIEW
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COUNTER-CROSS

MOVING IN THE OPPOSITE DIRECTION OF AN ACTOR MAKING A CROSS
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CROSS

MOVEMENT ACROSS THE STAGE
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DOWNSTAGE

TOWARD THE AUDIENCE
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FULL BACK/FULL FRONT

FACING OR COMPLETELY TURNED AWAY FROM THE AUDIENCE
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PROFILE

SIDEWAYS TO THE AUDIENCE
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QUARTER TURN

HALFWAY BETWEEN FULL FRONT AND STAGE LEFT/RIGHT
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RAKED

SLANTED

SIGHTLINES

IMAGINARY LINES INDICATING VISIBILITY OF STAGE AREAS
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STAGE LEFT/STAGE RIGHT

THE ACTOR'S LEFT OR RIGHT AS HE FACES THE AUDIENCE
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THREE QUARTER TURN

HALFWAY BETWEEN FULL BACK AND STAGE LEFT/RIGHT
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UPSTAGE

TOWARD THE BACK OF THE STAGE
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OBJECTIVES

  • To understand and practice body positioning
  • To become familiar with the areas of the stage
  • To use movement to create expression of thought, feeling, and character
  • To plot and execute stage directions
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PREVIEW: A LOOK AT THE STAGE

  • The theatrical stage has evolved over the years
  • Early stages were raked so audiences could see better
  • The terms upstage and downstage originate from this time
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PREVIEW: WHERE AM I?

  • The downstage area is considered a "strong" position
  • This is because of its proximity to the audience
  • Stage right is a "stronger" position than stage left
  • Because we read L-R, we look to SR for dramatic action
  • Strong characters and important scenes often appear DS or SR
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BODY POSITIONS=STRENGTH OF CHARACTER

  • Actors sharing a scene often use a quarter turn toward each other
  • In an intense scene, actors turn in profile to tighten focus on each other
  • If one's lines are especially important, others may use a 3/4 turn toward them
  • Monologues and asides call for actors to stand full front
  • In unusual circumstances, actors may turn their full back to the audience

PREVIEW: GETTING YOUR BEARINGS

  • Crosses (movement across stage) are marked with an X on paper
  • Movement in a straight line implies strengths strength and decisiveness
  • A complicated cross can be used to convey indecision, casualness, grace, or ease
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HOW TO MOVE WITHOUT CRASHING INTO ANYONE

  • The moving figure dominates! The speaking character moves in front of others
  • Don't move when another character is talking.
  • If 2 characters cross, the one with more lines should be D and ahead of the other
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Taylor Hyatt

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