In the newly created Directing class, I am trying some brand new things when it comes to play analysis. In the past, I had always started with the simple classic play analysis when the play was read; a major dramatic curve was penned, and then you tackled the play bit by bit to the very last page – – giving each beat/section a name, a protagonist and a resolution. It was a lot of work – and certainly necessary work – but is it the first work that needs to be done?
I took a risk this year in helping student directors getting their directing work done. I began with character. Sure we read the play thoroughly, but then I asked the director to find one character that they loved and ask of this character a series of questions that were both factual (given circumstances) and those character features that are inferred by an even closer reading of the play.
I then gave each student a three minute block of time where they were to put themselves in the role of the director, and we, the class, as his/her newly chosen cast. The mission: sell us on the one chosen character, get us excited about creating this character, convince us that you know the play well, and outline the plan you have for joining with me, the actor, to discover the play together.
The result was fabulous! They could get initially get much more excited from character. They used their three minutes to play guitar, work out metaphors they had for character, and give personal testimony that led them to connect to the character and his/her journey. No two presentations were the same, and each presentation came from a place of knowledge and passion. I am rather assured that the fun/sucesss they had with the project is going to create an even better traditional play analysis. Young directors connect with the people first then the plot.
I love a class that runs and build on itself. I started the afternoon, and then just set back and learned. I think I got this one right.