Directing Virginia [Woolf], by Edna O'Brien
n effective director needs to be a good traffic cop and amateur psychologist.
I map out the blocking before first rehearsal, knowing routes will be altered in the process of reaching our final destination, but at least I begin with a broad grid.
Establishing a clear picture of each character in my mind not only aids me during the auditions but serves me well in jump-starting the actors, while, at the same time, allowing room for the actor's interpretation. After all, it's the actor's creativity, intuition and experiences that have been selected to bring the character to life.
I am not one for giving actors “motivation” unless they ask for it. I enjoy allowing the process to breathe and develop in accordance with the playwright's intention.
Again, however, I say the most important “motivation” any actor can engage is to go on stage to entertain the paying audience.