1. SCRIPT
and
DIRECTING

2. SCRIPT

3. JULIET O Romeo, Romeo. wherefore art thou Romeo
JULIET  O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet. ROMEO  [Aside] Shall I hear more, or shall I speak at this? JULIET  'Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself.
SCRIPT

4. SCRIPTS ARE WRITTEN WORDS OF A DRAMA.
A SCRIPT MAY BE PUBLISHED OR AN ORIGINAL WORK

5. A script can give you a description of the set for each scene or act
Act I
Scene 1
THE SET: A large worn armchair center stage. In front of it, a small coffee table.  To one side a small couch to the other a small chair.  A sideboard with side cabinets is to the left.  Near it a table.  To the right is a dark area with a chair where the GRANDMOTHER remains throughout. Ellen is about the  room puffing pillows, fixing things.  On the sideboard is a birthday cake and a present. Ellen finishes  the wrapping on a package as She looks in the side board drawer for a box of candles she calls: ELLEN: Where are those candles? Rose, Rose. I know I put them in here somewhere. Yo, Rose! ROSE: (In the hall at the door.) Just a minute I can't hear you.

6. the allocation of lines to characters
A script will tell you
the allocation of lines to characters
• the inclusion of stage directions
• advice to actors on delivery of lines
Scene 1
THE SET: A large worn armchair center stage. In front of it, a small coffee table.  To one side a small couch to the other a small chair.  A sideboard with side cabinets is to the left.  Near it a table.  To the right is a dark area with a chair where the GRANDMOTHER remains throughout. Ellen is about the  room puffing pillows, fixing things.  On the sideboard is a birthday cake and a present. Ellen finishes  the wrapping on a package as She looks in the side board drawer for a box of candles she calls: ELLEN: Where are those candles? Rose, Rose. I know I put them in here somewhere. (yells) Yo, Rose! ROSE: (In the hall at the door .) Just a minute I can't hear you.

7. The script can give you ideas on the use of theatre arts to enhance the action
ROSE: Sometimes I wish I were. It may be a lot easier. (Rose stops searching for the candles in the sideboard. All lights dim.  Rose is lit in a single beam. This is a private thought.) A lot easier to be deaf. Deaf to everything in this house Deaf as the walls. Hard like the walls. Dark like the closets.  A little girl behind the coats and dresses smelling of camphor and smoke and drink. Curled into my knees tight under my chin; buried;  my hands between my legs. Hiding from the shouts, hiding from the fights, hiding from the men, from the slaps, hearing her scream, hearing her cry.   Afraid to be found.  Afraid of the light when she opened the door.  Afraid of her kisses, of their kisses.  The sour smell from dragging  lips.  The gin smelly air fogged with meaningless words mumbled and twisted and slurred. (The Lights return to normal full stage)

8. DIRECTING

9. THE DIRECTOR HAS FULL CREATIVE CONTROL OVER A SHOW. THEY WORK WITH THE
COMEDY OF ERRORS
2 DIRECTORS, 2 DIFFERENT DESIGNS
THE DIRECTOR HAS FULL CREATIVE CONTROL OVER A SHOW. THEY WORK WITH THE
LIGHT /SOUND/SET/COSTUME DESIGNERS TO SEE THEIR VISION COME TO LIFE

10. A director has many jobs
Communicating their vision with actors and design team
Deciding on the blocking
Coming up with the design concepts
deciding on the casting
Designing and running the rehearsal process
interpreting the script/scenario and translating it to the audience

11. WHEN THE SHOW HAS OPENED THE DIRECTOR DOESN’T NEED TO GO ANYMORE.
THEIR JOB IS DONE.

12. BUT THE STAGE MANAGER HELPS KEEP THINGS RUNNING SMOOTHLY.

13. Left hand side of the stage where prompter and stage manager
sit during the performance
PROMPT SIDE

14. To help them, the Stage Manager keeps a Master copy of the script with all moves and technical effects included
PROMPT COPY