KRISTA D. PRICE

DAYS 1-2:

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1.) Reviewed the 5 phases of a Director's Process that we, as a class, will be embarking on:

1. Phase 1:  Script Analysis (includes script study, character study, design process, research, formulating a Director's Concept, etc.)

2. Phase 2:  Collaboration Process (includes communication with, & organization of, teams that will be working on the show; includes sharing vision, style, design, etc.)

3. Phase 3:  Audition & Casting Process

4. Phase 4: Rehearsal Process

5. Phase 5:  Dress / Tech / Performance (when show is turned over to the SM)

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2.)  Discussed how this week we will be focused on Phase 1. (Next week will be Phase 2.)

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3.) Discussed:  What do you feel a DIRECTOR does when reading a script?  (Students shared thoughts, ideas, and wonderings)

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4.) Ms. Price shared her process (of reading a script), and explained that we will ALL be walking through the same process together as part of the learning process surrounding our show.

1. Read for STORY / IMPRESSIONS / FIRST FEELINGS (This is the closest I'll get feeling what an audience feels, so I always write those feelings in the margins of my script to remind me what I'm trying to create in specific moments on stage.)

2. Read for DESIGN & CHARACTER (What do I want the show to look and feel like? How do I want the characters to present themselves to the world? How can this be reflected in my casting? What in the script supports these choices?)

3. Read for PHILOSOPHICAL STATEMENTS & DESIGN CONCEPT (What is this show REALLY about and WHOSE story is it? What in the script gives me clues to the HEART of the show and how do I bring that forward in the telling of the story - whether it's literal or metaphorical?)

4. Read for CASTING

5. Read for LISTS (costume, prop, special effects, set, sound, lights) and EDITS

6. Read for REHEARSAL UNITS (breakdown by scenes or characters) and REHEARSAL SCHEDULE (backwards design of calendar)

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DAYS 3-4:

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1.)  Discussed factors to consider when choosing a show for THIS year at OHS:

• Our situation

• Our timeline 

• Our interest

• Our community / Our audience

• Our actors' training needs

• Our budget

• The set

• Opportunity to "give back"

2.)  Discussed:  How does a director PREPARE TO DIRECT a show?

• KP starts with the "emotional center" of the show (the heartbeat of the story) and works her way out.  (The "emotional center" leads to making decisions on STYLE & DESIGN - i.e. the unique way I choose to tell the story.)  

3.) KP shared her process for THIS year's play selection - which includes SEVERAL reads of the script.

• Read #1:  Read for:  Story, characters, etc. (what is this story about?)

• Read #2:  Read for:  Anything problematic?  Anything worthwhile?  (a beat by beat closer look)

• Read #3:  Read for: Flow (scene by scene analysis of how the story flows...which leads to scenic design & style choices)

• BEFORE Read #4:   KP stopped to research and find inspiration around the theme of home and the "feeling" that she would want the show to evoke:  "magical", "adventure", "imaginative", "playful", "strength/love"

  • (Developed a possible "director's concept" for the telling of the story, which included a potential set design that could work for the flow of the story.  Sketched out possible scenic/concept designs.)

• Read #4:  Re-read the show with the concept/set design in mind.

• Read #5+:  "Audition & Spreadsheet Reads" (reading with auditions/characters and props/costumes/lighting/set, etc. in mind).  Create lists/spreadsheets for each.

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4.) Explored "inspiration research" for KP's "feeling words" of:  magical, imaginative, playful

• Students shared results of the repeated imagery that came up when "researching" those words/ideas.

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