Blocking (stage)

Last updated April 30, 2024

In theatre, blocking is the precise staging of actors to facilitate the performance of a play, ballet, film or opera.^[1] Historically, the expectations of staging/blocking have changed substantially over time in Western theater. Prior to the movements toward "realism" that occurred in the 19th century, most staging used a "tableau" approach, in which a stage picture was established whenever characters entered or left the stage, ensuring that leading performers were always shown to their best advantage. In more recent times, while nothing has changed about showing leading performers to their best advantage, there have been changing cultural expectations that have made blocking/staging more complicated.

Etymology

Both "blocking" and "block" were applied to stage and theater from as early as 1961.^[2] The term derives from the practice of 19th-century theatre directors such as Sir W. S. Gilbert who worked out the staging of a scene on a miniature stage using a block to represent each of the actors.^[3] Gilbert's practice is depicted in Mike Leigh's 1999 film Topsy-Turvy.^[4]

Blocking in theater and film

In contemporary theater, the director usually determines blocking during rehearsal, telling actors where they should move for the proper dramatic effect, to ensure sight lines for the audience and to work with the lighting design of the scene.

Each scene in a play is usually "blocked" as a unit, after which the director will move on to the next scene. The positioning of actors on stage in one scene will usually affect the possibilities for subsequent positioning unless the stage is cleared between scenes.

During the blocking rehearsal, the assistant director, stage manager or director take notes about where actors are positioned and their movements on stage. It is especially important for the stage manager to note the actors' positions, as a director is not usually present for each performance, and it becomes the stage manager's job to ensure that actors follow the assigned blocking from night to night.^[5]

In film, the term is sometimes used to speak of the arrangement of actors in the frame. In this context, there is also a need to consider the movement of the camera as part of the blocking process (see Cinematography).

Technology and Blocking

Digital Tools

In today's fast-paced world, where audiences are accustomed to immersive digital experiences, the incorporation of digital tools into theatre has become not only advantageous but necessary for staying relevant. As playwright and director Robert Lepage observed, "Digital tools allow us to create theatrical worlds that were once only possible in the realm of dreams." This sentiment underscores the transformative potential of digital technology in theatre, enabling artists to craft intricate and visually stunning productions that captivate and engage audiences in profound ways. Whether through cutting-edge projection mapping techniques, interactive virtual environments, or innovative sound design, digital tools offer theatre makers unprecedented opportunities to transcend traditional storytelling conventions and transport audiences to new realms of imagination and emotion. Moreover, the flexibility and adaptability of digital technology allow for dynamic and ever-evolving productions that can respond in real-time to the changing needs and expectations of modern audiences.

Virtual Reality

Virtual Reality (VR) presents a transformative advantage in modern theater by revolutionizing the immersive experience for both performers and audiences. By integrating VR technologies into theatrical productions, the boundaries between reality and imagination are blurred, allowing for unprecedented levels of engagement and interaction. As Professor Krivospitskaya notes, "VR technologies offer a unique opportunity to transport viewers into alternate realities, enabling them to explore dynamic environments and narratives in ways previously unimaginable." Through VR, theatergoers can surpass physical limitations, entering virtual worlds where they can actively participate in the unfolding narrative, enhancing their connection and enjoyment of the performance. For performers, VR opens up new avenues for creative expression, enabling them to inhabit digital avatars and explore innovative storytelling techniques. As the theatrical landscape continues to evolve, VR stands as a powerful tool for pushing the boundaries of artistic expression and audience engagement in the digital age.

Stage directions

The stage itself has been given named areas to facilitate blocking.^[6]

The rear of the stage area, farthest from the audience, is upstage. The front, nearest the audience, is downstage. The terms derive from the once common use of raked stages that slope downward toward the audience.
In English-speaking cultures generally, stage left and stage right refer to the actors' left and right when facing the audience. Sometimes the terms prompt and bastard/opposite prompt are used as synonyms. (See also Prompt corner)
House left and house right refer to the audience perspective. In productions for film or video, analogous terms are screen left/right and camera left/right.
To cross is to move. An actor placed up-stage right in blocking may be instructed by a director to cross down-stage left when speaking a line.

Non-English-speaking cultures

French

Map of the Theatre des Tuileries CourJardin.jpg — Map of the Théâtre des Tuileries

In French, house right is côté cour (courtyard side) and house left is côté jardin (garden side). The history of the term goes back to the Comédie-Française, where since 1770, the troupe performed in the Théâtre des Tuileries in the former Tuileries Palace: the venue had the Louvre courtyard on one side, and the Tuileries Garden on the other side.^[7]

Before that time the house right was called "côté de la reine" (Queen side), and the house left "côté du roi" (King side), because of the respective positions of the Queen and King galleries. This designation was abandoned after the French Revolution.

Cantonese opera

In Cantonese opera, stage right is called yi bin (the side of clothing) and stage left is zaap bin (the side of props).

Other languages

In German, Italian and Arabic, left and right always refer to the audience perspective.

Related Research Articles

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<span class="mw-page-title-main">Outline of theatre</span> Collaborative form of performing art

The following outline is provided as an overview of and topical guide to theatre:

Theatre techniques are procedures that facilitate a successful presentation of a play. They also include any practices that advance and enhance the understanding the audience brings to the action and the acting by the cast on stage.

A theatre director or stage director is a professional in the theatre field who oversees and orchestrates the mounting of a theatre production such as a play, opera, dance, drama, musical theatre performance, etc. by unifying various endeavors and aspects of production. The director's function is to ensure the quality and completeness of theatre production and to lead the members of the creative team into realizing their artistic vision for it. The director thereby collaborates with a team of creative individuals and other staff to coordinate research and work on all the aspects of the production which includes the Technical and the Performance aspects. The technical aspects include: stagecraft, costume design, theatrical properties (props), lighting design, set design, and sound design for the production. The performance aspects include: acting, dance, orchestra, chants, and stage combat.

Stage management is a broad field that is generally defined as the practice of organization and coordination of an event or theatrical production. Stage management may encompass a variety of activities including overseeing of the rehearsal process and coordinating communications among various production teams and personnel. Stage management requires a general understanding of all aspects of production and provides complete organization to ensure the process runs smoothly and efficiently.

In theatre, a lighting designer works with the director, choreographer, set designer, costume designer, and sound designer to create the lighting, atmosphere, and time of day for the production in response to the text while keeping in mind issues of visibility, safety, and cost. The LD also works closely with the stage manager or show control programming, if show control systems are used in that production. Outside stage lighting, the job of a lighting designer can be much more diverse, and they can be found working on rock and pop tours, corporate launches, art installations, or lighting effects at sporting events.

A black box theater is a simple performance space, typically a square room with black walls and a flat floor. The simplicity of the space allows it to be used to create a variety of configurations of stage and audience interaction. The black box is a relatively recent innovation in theatre.

Stagecraft is a technical aspect of theatrical, film, and video production. It includes constructing and rigging scenery; hanging and focusing of lighting; design and procurement of costumes; make-up; stage management; audio engineering; and procurement of props. Stagecraft is distinct from the wider umbrella term of scenography. Considered a technical rather than an artistic field, it is primarily the practical implementation of a scenic designer's artistic vision.

In theatre and performing arts, the stage is a designated space for the performance of productions. The stage serves as a space for actors or performers and a focal point for the audience. As an architectural feature, the stage may consist of a platform or series of platforms. In some cases, these may be temporary or adjustable but in theaters and other buildings devoted to such productions, the stage is often a permanent feature.

A theater, or playhouse, is a structure where theatrical works, performing arts, and musical concerts are presented. The theater building serves to define the performance and audience spaces. The facility usually is organized to provide support areas for performers, the technical crew and the audience members, as well as the stage where the performance takes place.

The light board operator, is the electrician who operates and may even programs the light board. They are considered part of the "Electrics" Department or LX Department. All non-design elements of lighting will be handled by the LX Department, i.e. electricians. Light board operators mainly are responsible for decoding the light designer's ideas from paper to opening night ready. In some cases, the light board operator is also the light designer.

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<span class="mw-page-title-main">Virtual cinematography</span> CGI essentially

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A list of theater terms, and brief descriptions, listed in alphabetical order.

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References

↑ Novak, Elaine Adams; Novak, Deborah (1996). Staging Musical Theatre. Cincinnati, Ohio: Betterway Books. ISBN 978-1-55870-407-7. OCLC 34651521.
↑ Harper, Douglas. "block". Online Etymology Dictionary .Harper, Douglas. "blocking". Online Etymology Dictionary .
↑ How, Harry (October 1891). "ILLUSTRATED INTERVIEWS, No. IV. MR. W. S. GILBERT". The Strand Magazine (2): 330–341. Retrieved 14 August 2017. The green and white striped blocks may be 'tenors'; the black and yellow 'sopranos'; the red and green 'contraltos'; and so on.
↑ Topsy-Turvy (Motion picture). 1999. Event occurs at 1:41:52.
↑ Spolin, Viola (1985). Theater Games for Rehearsal: A Director's Handbook. Evanston, Ill: Northwestern University Press. ISBN 978-0-8101-4002-8. OCLC 222012533.
↑ Cameron, Ron (1999). Acting Skills for Life. Toronto: Dundurn Press. ISBN 978-0-88924-289-0. OCLC 43282895.
↑ Manceron, Claude (2009). Les Hommes de la liberté (in French). Omnibus. ISBN 9782258079571. Au lieu de dire " Poussez au roi !… poussez à la reine !… " suivant le côté où devait se porter l'acteur, les semainiers trouvaient plus imagé maintenant de leur indiquer : " Poussez au jardin !… Poussez à la cour !… " Un nouveau terme de théâtre était créé.

Ronfard, Rémi, and Guerraoui, Camelia. "Blocking notation: a tool for annotating and directing theater." In *Proceedings of the Journées d’Informatique Théâtrale, ENSATT, Lyon, France, October 2022*, HAL Identifier: hal-04130264.

O'Brien, Madison Danielle. "Stage Management & Technology." Undergraduate Research Scholars Thesis, Texas A&M University, May 2013. Submitted to Honors and Undergraduate Research in partial fulfillment of the requirements for the designation as UNDERGRADUATE RESEARCH SCHOLAR. Approved by Research Advisor: Professor Autum Casey. Major: Theatre Arts, Psychology.

Kincman, Laurie. *The Stage Manager's Toolkit: Templates and Communication Techniques to Guide Your Theatre Production from First Meeting to Final Performance.* 3rd ed., Focal Press.

Kelly, Thomas A. *The Back Stage Guide to Stage Management, 3rd Edition: Traditional and New Methods for Running a Show from First Rehearsal to Last Performance.* Back Stage Books, June 16, 2009.

DuSold, Robert. *Get the Job in the Entertainment Industry: A Practical Guide for Designers, Technicians, and Stage Managers.* Routledge, April 21, 2022.

Boiko, T., Tatarenko, M., Iudova-Romanova, K., Tsyvata, Y., & Lanchak, Y. (2023). Digital Tools in Contemporary Theatre Practice. *Journal of Computer Culture and Heritage*, 16(2), 27. https://doi.org/10.1145/3582265

This article explores how the use of digital tools and it's practices in theater.

Ana Levordashka, Jamie Eastman, Eleni Anna Skoulikari, Anca Salagean, Darren Cosker, and Danaë Stanton Fraser. 2023. An Exploration of Theatre Rehearsals in Social Virtual Reality. In Extended Abstracts of the 2023 CHI Conference on Human Factors in Computing Systems (CHI EA '23). Association for Computing Machinery, New York, NY, USA, Article 34, 1–7. https://doi.org/10.1145/3544549.3585685

Kateryna Iudova-Romanova, Tetiana Humenyuk, Serhii Horevalov, Serhii Honcharuk, and Volodymyr Mykhalov. 2023. Virtual Reality in Contemporary Theatre. J. Comput. Cult. Herit. 15, 4, Article 75 (December 2022), 11 pages. https://doi.org/10.1145/3524024

This article explains virtual reality and it's practices in theater.

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[novak1996-1] Novak, Elaine Adams; Novak, Deborah (1996). Staging Musical Theatre. Cincinnati, Ohio: Betterway Books. ISBN 978-1-55870-407-7. OCLC 34651521.

[2] Harper, Douglas. "block". Online Etymology Dictionary .Harper, Douglas. "blocking". Online Etymology Dictionary .

[3] How, Harry (October 1891). "ILLUSTRATED INTERVIEWS, No. IV. MR. W. S. GILBERT". The Strand Magazine (2): 330–341. Retrieved 14 August 2017. The green and white striped blocks may be 'tenors'; the black and yellow 'sopranos'; the red and green 'contraltos'; and so on.

[4] Topsy-Turvy (Motion picture). 1999. Event occurs at 1:41:52.

[Spolin1985-5] Spolin, Viola (1985). Theater Games for Rehearsal: A Director's Handbook. Evanston, Ill: Northwestern University Press. ISBN 978-0-8101-4002-8. OCLC 222012533.

[Cameron1999-6] Cameron, Ron (1999). Acting Skills for Life. Toronto: Dundurn Press. ISBN 978-0-88924-289-0. OCLC 43282895.

[7] Manceron, Claude (2009). Les Hommes de la liberté (in French). Omnibus. ISBN 9782258079571. Au lieu de dire " Poussez au roi !… poussez à la reine !… " suivant le côté où devait se porter l'acteur, les semainiers trouvaient plus imagé maintenant de leur indiquer : " Poussez au jardin !… Poussez à la cour !… " Un nouveau terme de théâtre était créé.

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