Directing and Production Process
Directing and Production Process tests your ability to shape a production from page to opening night while collaborating with actors, designers, stage management and technicians. The examiner looks for a clear interpretative through-line, a workable rehearsal plan and evidence of collaboration.
Core rules
- The director’s job: interpret the text, cast, stage, shape rhythm, coordinate design and manage the production calendar.
- Distinguish concept from imposition. A concept should illuminate the text’s tensions, not replace them.
- Use table work, then blocking, then runs, then tech and dress. Build in buffer time.
- Blocking notation: use a consistent ground plan, abbreviations (DSR, USL), crosses and business.
- French scenes mark entrances and exits; they help schedule rehearsal efficiently.
- Stage management owns the prompt copy, props, calls and cueing. The director gives notes, not orders, to crew.
Worked example
A two-act play opens in four weeks. Week 1: table work on given circumstances and objectives; block Act 1 scenes 1–3. Week 2: block Act 1 remaining scenes and Act 2 scenes 1–2; run Act 1. Week 3: complete blocking; detailed runs with notes; design and production meeting. Week 4: tech, dress, previews. Reasoning: text work before traffic patterns prevents actors from fixing empty movement. Buffers absorb illness and technical problems. The plan also gives the stage manager dates for cue-building and the designer a deadline for the set.
Traps
- A “concept” that contradicts the play’s structure.
- Blocking before actors understand objectives.
- No understudy or contingency plan.
- Directing every gesture, so actors stop thinking.
- Ignoring budget, venue rules or tech time.