How to Direct a Short Play

While there are many different ways to direct all the different types of plays which exist in the world, it is a fact that different plays require different directorial skills. If you are an aspiring theater director one of the best things you can ever do is get out and direct as much as possible; finding a director to direct a short play is often a director's first inroads into the business. Sometimes it will be their own play and sometimes it will be the work of other people but a director of a short play should remember a couple of things when they are approaching the text if they strive for success. Read on to learn how to direct a short play.

Difficulty: Challenging

Instructions

1. Keep an open mind. Directors, especially new directors of other people's work, often tread too lightly on material that needs their help. Directors have an objective eye and are able to bring fresh ideas to a stagnant peace. But before a director goes chopping up a 10-minute script they should have a thorough conversation with the playwright or whomever is producing the play so that they are aware of what they can and cannot do. While some people are afraid of having this conversation it is essential for the director to be able to speak freely without being cruel so that the life of the script can proceed.

2. Cast it well. Once you have found where you stand in terms of being able to do what you are able to do, you should then turn an eye towards casting. This is often a place where directors need to be more firm also; often times the playwright will cast their boyfriend or girlfriend in the lead role and if that is what the playwright wants to do and the director should cede control back to the playwright. If there are other interests who want to be able to just do whatever they want then they should do that; but a director should never be forced to cast people who are not in line with their artistic vision. Even if the playwright or someone wants a friend to audition, the choice should still be left up to the director and everyone needs to respect that decision.

3. Rehearse. This may seem an obvious next step but the director needs to not have anyone else's hands on their project. If the playwright or the producer or someone else is going to be around all the time telling the director what they can and cannot do then what's the point of having a director? Let the director rehearse with their actors in private.

4. Nip and tuck. There are often times especially in a shorter script where a playwright will write it fast and forget it. However, after many readings with actors, a director may come up with a different scenario and this needs to be respected by the playwright. If the playwright feels they have given up their full attention in the first place there will not be anything which needs to be changed. However if the director finds there are things that they want to change and they have been granted ability to do so, then they should.

Tips & Warnings

• Clearly state your intentions.
• Make sure your boundaries are set.
• Move forward with conviction.
• Try to be constructive rather than insulting.

[grouch]

on 1/3/2008 Great overview for the first timer. I love the idea of the "nip and tuck".

[dahawe]

on 12/29/2007 Jesse: easy to grasp the main concepts; looking forward to more on this subject!