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A Sense of Direction
SOHRAB
ARDESHIR
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The visionary
behind the film. The unsung hero of a dynamic stage production.
The captain of the ship, who gently but firmly steers the
actors through the stormy rehearsal process, helps minimise
their insecurities, deals with their egos and vociferous opinions,
and encourages them to give their best. The director.
When we see an enthralling performance, our usual comment
is, "What a great actor". How many of us ever think
to credit that unseen director's guiding hand?
The director
is the visionary. It is he who transforms the lifeless script
into a living, breathing entity, guides the actors to serve
his viewpoint, and finally presents the audience with a slice
of his unique perception.
A good
director has to virtually be superhuman. He has to come into
the production well-prepared, with a good idea of what he
wants. He has to be able to deal with actors of vastly differing
emotional, intellectual and egotistical levels, and yet be
able to reach each one of them. He has to know what buttons
to push, to elicit the required performance.
He has
to be able to listen. To encourage. To criticise constructively.
He has to have the ability to communicate exactly what he
wants. To be a source of great inspiration. To find ways to
excite the actor. He has to calm and comfort distraught actors,
to pander to their fragile egos, yet hold them in check. To
be a mother, father and psychiatrist. To ensure that they
give more to the role than they ever know they could. And
then some.
He has
to simultaneously watch and nurture his overall vision, making
sure it is staying on track. All this, and still oversee the
set design, costuming, lighting design and sound. And deal
with the nitty-gritty of publicity, marketing, theatre bookings
and other tedious business details. And then, on opening night,
to let go of the child. To allow the actors and other technicians
to take over.
And yet
keep his cool. Phew. A mammoth task. I recently had the privilege
of being a part of a unique theatrical experiment, Going Solo
Living on the Edge. One evening, three different directors,
eight actors, 12 monologues.
Three
different directors with a vast amount of productions behind
them: Rahul da Cunha, Anahita Oberoi and Vikram Kapadia. Each
with a 35-minute time-slot. Three varying directorial styles,
three different approaches, yet one cohesive evening.
I chose
three questions to ask them:
What is it that excites you about direction?
RD: It is my form of creative expression. I enjoy watching
my vision transform the page to the stage. I particularly
enjoy plays which are from a realistic world, and are loose
form-wise, which allow me my directorial freedom. Authors
like Sam Shepard give the director every direction, and this
tends to straitjacket me. I enjoy the works of A R Gurney
and Peter Schaffor, who allow me to conceive the piece anyway
I like. I also enjoy it when the author throws out a challenge
to the director.
AU:
Mobilising several people to make concrete my vision of the
piece. I get a `high' out of orchestrating an exchange of
energy between different people-actors-characters. I love
pulling a script apart, then putting it together again. Translating
the words into a live form which the audience can experience.
Using actors and my vision to create a living event. Shedding
aspects of my preconceived vision, gaining new insights. A
director is like an orchestra conductor.
VK:
I got into direction by default. When I was acting, I found
my directorial faculties constantly at work. To me its fun
creating a piece, and you are the boss. I enjoy seeing my
vision come alive. My viewpoint must be present. The `silent
speech' of direction is often louder than the spoken word
of the actor. I enjoy taking a play and making it work in
the context of today's world around us.
What are
the qualities essential to a director?
RD: Man-management. Getting along with people, knowing
how to reach them, communicate with them. Not just actors,
but the set and lighting designer, the costume person. All
of them are experts in their field, but need direction. An
inspirational director, not a tyrant, is needed. A director
must do his homework, know the rules, and then forget them.
He must allow for experimentation, and ensure a creative,
secure environment for his actors.
AU:
Patience, and grim determination! You need to be a virtual
psychiatrist, and understand what your actors are going through.
An innate sense of design is needed, for the actors on stage,
the set, the costuming. VK: A director needs to have a vision,
a lot of patience, and be a manipulator of people. He must
have leadership qualities, a distinct knowledge of acting,
and have seen and observed life. He needs to empathise with
his actors, yet be a barometer of what is happening, and see
through actors' fake moments and self-indulgence.
How do
you deal with actors?
RD: I like to create a loose-structured environment,
where the performers know their boundaries, but are free to
experiment. I work on their strengths, and accept their limitations.
My thrill comes from the rehearsal process, and watching the
play and actor blossom. Just as I come prepared to the rehearsal,
I like the actor to have done some homework and to bring to
the table his input.
Luckily I have no desire to act. Wannabe actors make the worst
directors. My thrill comes from the creative process, not
from onstage performance.
AU:
Kindly. I like them to experiment, to think for themselves
I need their input. I'm open to suggestion, but I pull them
in the direction of my vision. I don't believe in intimidation
at all. I like to create a safe environment. I'd rather they
let themselves go and fall flat on their faces, than tread
warily.
VK:
I use all techniques and improvisations possible. I sometimes
`con' the actors I find any means to reach them. A director
must treat each actor as an individual, and reach them in
different ways the method is immaterial. A pre-requisite for
me: the actor has to come to me in complete faith and submission.
If that is there, then I don't need to exercise my power over
him.
And so,
to all the directors in my past, a big thank you.
Without you, I would never have been up there.
PS: God Bless You, Pearl. This one is for you.
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