1. Shakespearean Scene Dramatization
Director’s Notebook
Shakespearean Scene Dramatization

2. EVERYBODY IS RESPONSIBLE FOR THE DIRECTOR’S NOTEBOOK
Each actor does a script.
Each actor does costume design.
Each actor does a character analysis.
Everybody works on the set design.
The person in charge of organizing the Director’s Notebook in some neat and organized way is the Director.

3. SCRIPT
Copy your scene (either from a book without notes or the internet) and cut and paste each page onto a larger piece of plain paper. Cross out any lines that you intend to cut. Make sure you have room in the margins to enter the following pieces of information to indicate how the scene will be played.
 Vocal pauses, stresses and inflections
Tone of voice
Gestures and facial expressions (those that are explicit in the script as well as those that are not)
Notes or diagrams of actions and movements
Definitions of words and phrases you do not understand

4. SCRIPT
Note: This script could, and perhaps should, be put together after each actor (and your director) put the same kind of comments and diagrams in each actor’s own script. After you each have your own marked up script – put together one that has everyone’s respective actions, stresses, etc. in it.

5. COSTUME Design two (2) costumes
Conceptual Costume
The one you would wear if money were no object.
Actual Costume
The one you will put together for this performance.
You may draw these, construct them from magazine cuttings, media clipart, or simply write out a detailed description explaining your choices (style, materials, colors, etc…), but tell about both your conceptual and actual costume.
**In the director’s notebook, there should be costume descriptions from each actor.

6. Character Analysis
Write an analysis for each character who appears in the scene. As you prepare these analyses, question yourself about the characters’ motivations in the passage or scene. Also consider what you know about the character. The following questions should guide you:
What does each character want?
Do the characters’ objectives change in these scene? If so, when and why? What obstacles stand in each characters way? What happens when objectives meet obstacles?
What is distinctive about the way the character speaks? For example, who uses plain language? Elaborate language? Puns? Riddles? Sarcasm? Why does the character speak this way?

7. STAGING
House left/right are from the audience's perspective The rear of the stage is considered up-stage. The front of the stage (i.e. nearest the audience) is down-stage. Stage left and right, at least in British and North American theatre, refer to the actor's left and right facing the audience. Because this is sometimes misunderstood, the terms prompt (actor's or stage left) and bastard/opposite prompt (actor's or stage right) are also used. House left and house right refer to how the audience perceives the stage. The audience’s left is referred to as house left, and the audience’s right is referred to as house right. (These may also be called camera left and camera right for a filmed or sometimes unfilmed production or play.)
Plan the staging. Draw the set. Make a model using a shoebox or poster board. With script in hand, read the scene and move objects such as Legos, buttons, coins, or dolls to represent characters. These actions will anticipate the movements the performers will make during your performance. Mark your scripts as you plan the movements.

8. SET AND PROPS (OPTIONAL)
Plan a simple set using only desks or chairs or what is available in the classroom. If you want to add special pieces keep them simple and not valuable. Keep props simple as well. Include a drawing of the set in your Director’s Notebook, and a list of the props. Briefly explain your choices.

9. MUSIC (OPTIONAL)
Select appropriate music to play as an introduction to your scene (as well as, perhaps, during your scene). The characters, action, and mood of your scene should guide your choices.