Open Forum

Lately I've found myself trying more and more to articulate to students that there are what might be called "levels" of blocking (not to be confused with vertical levels as an element of composition; perhaps "types" would be a less confusing term).  There is what I know I have seen called "obligatory blocking" (although I don't recall where and "obligatory" is bit of a mouthful for middle schoolers) i.e. the blocking absolutely required by the script for the story to make sense.  And then there is what I've taken to calling "expressive blocking" i.e. movements that physicalize and give us insight into a character's thoughts and feelings.  

A couple of questions:  Does anyone have favorite activities to teach concepts like this?  Does anyone have a good resource that spells out such concepts clearly (either a resource for teacher or student)?  Do we have common language around these concepts as theatre educators?  What do you think are the different types of blocking (since I know the two I threw out there do not comprise an exhaustive list)?

Thanks for allowing your brain to be picked.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------

To start blocking with my middle schoolers (this class was a 7th grade intermediate group), I used to give them blocking dictates from an 'old-school' textbook (1930s era). It contained "hard and fast rules" like enter on time and in character, cross only on your line, cross downstage of others when you are speaking and upstage of others when they are speaking, balance with counter-crosses when the stage picture dictates, avoid semi-circles, whoever holds power is usually downstage, close to center and standing etc.  After laughing at the formal language in the text, we did quick activities to see how these 'rules' looked- like getting into groups of 8 or so and pretending to be kids picking teams for a game at recess (which would require crossing and regrouping) or seating a family of 10 at a formal dinner party.  When the kids were comfortable, they came up with basic blocking challenges and we would perform them and discuss- which was fun because the kids found there were places where they could break some of those 'old-school' rules.  All of this work was followed by the kids getting into acting companies and directing themselves through scenes that I selected because of the blocking opportunities. This is where the kids navigated through balancing the 'rules' and the needs of the script. The students finalized their work, performed for each other, and had a critique sheet with sentence starters that helped them ask questions about blocking choices. 

------------------------------
Suzanne Katz
Washington DC
------------------------------

Original Message:
Sent: 10-23-2019 11:11
From: Ryan Moore
Subject: Activities for teaching Blocking

Lately I've found myself trying more and more to articulate to students that there are what might be called "levels" of blocking (not to be confused with vertical levels as an element of composition; perhaps "types" would be a less confusing term).  There is what I know I have seen called "obligatory blocking" (although I don't recall where and "obligatory" is bit of a mouthful for middle schoolers) i.e. the blocking absolutely required by the script for the story to make sense.  And then there is what I've taken to calling "expressive blocking" i.e. movements that physicalize and give us insight into a character's thoughts and feelings.

A couple of questions:  Does anyone have favorite activities to teach concepts like this?  Does anyone have a good resource that spells out such concepts clearly (either a resource for teacher or student)?  Do we have common language around these concepts as theatre educators?  What do you think are the different types of blocking (since I know the two I threw out there do not comprise an exhaustive list)?

Thanks for allowing your brain to be picked.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------

Love this idea!!

------------------------------
J. Harvey Stone
Teacher/Director
Williamsburg VA
------------------------------

Original Message:
Sent: 10-24-2019 07:56
From: Suzanne Katz
Subject: Activities for teaching Blocking

To start blocking with my middle schoolers (this class was a 7th grade intermediate group), I used to give them blocking dictates from an 'old-school' textbook (1930s era). It contained "hard and fast rules" like enter on time and in character, cross only on your line, cross downstage of others when you are speaking and upstage of others when they are speaking, balance with counter-crosses when the stage picture dictates, avoid semi-circles, whoever holds power is usually downstage, close to center and standing etc.  After laughing at the formal language in the text, we did quick activities to see how these 'rules' looked- like getting into groups of 8 or so and pretending to be kids picking teams for a game at recess (which would require crossing and regrouping) or seating a family of 10 at a formal dinner party.  When the kids were comfortable, they came up with basic blocking challenges and we would perform them and discuss- which was fun because the kids found there were places where they could break some of those 'old-school' rules.  All of this work was followed by the kids getting into acting companies and directing themselves through scenes that I selected because of the blocking opportunities. This is where the kids navigated through balancing the 'rules' and the needs of the script. The students finalized their work, performed for each other, and had a critique sheet with sentence starters that helped them ask questions about blocking choices. 

------------------------------
Suzanne Katz
Washington DC

Original Message:
Sent: 10-23-2019 11:11
From: Ryan Moore
Subject: Activities for teaching Blocking

Lately I've found myself trying more and more to articulate to students that there are what might be called "levels" of blocking (not to be confused with vertical levels as an element of composition; perhaps "types" would be a less confusing term).  There is what I know I have seen called "obligatory blocking" (although I don't recall where and "obligatory" is bit of a mouthful for middle schoolers) i.e. the blocking absolutely required by the script for the story to make sense.  And then there is what I've taken to calling "expressive blocking" i.e. movements that physicalize and give us insight into a character's thoughts and feelings.

A couple of questions:  Does anyone have favorite activities to teach concepts like this?  Does anyone have a good resource that spells out such concepts clearly (either a resource for teacher or student)?  Do we have common language around these concepts as theatre educators?  What do you think are the different types of blocking (since I know the two I threw out there do not comprise an exhaustive list)?

Thanks for allowing your brain to be picked.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------

I do a lesson on composition and stage pictures with my seniors, and I find this article to be quite useful. http://broadwayeducators.com/working-with-student-actors-geometry-can-help-them-be-more-effective-on-stage/
Then we do exercises to experiment with depth, levels, and triangles. Plus we explore topography when we do Viewpoints.

------------------------------
Cassy Maxton-Whitacre
Theatre Department Coordinator
Fishersville VA
------------------------------

Original Message:
Sent: 10-23-2019 11:11
From: Ryan Moore
Subject: Activities for teaching Blocking

Lately I've found myself trying more and more to articulate to students that there are what might be called "levels" of blocking (not to be confused with vertical levels as an element of composition; perhaps "types" would be a less confusing term).  There is what I know I have seen called "obligatory blocking" (although I don't recall where and "obligatory" is bit of a mouthful for middle schoolers) i.e. the blocking absolutely required by the script for the story to make sense.  And then there is what I've taken to calling "expressive blocking" i.e. movements that physicalize and give us insight into a character's thoughts and feelings.

A couple of questions:  Does anyone have favorite activities to teach concepts like this?  Does anyone have a good resource that spells out such concepts clearly (either a resource for teacher or student)?  Do we have common language around these concepts as theatre educators?  What do you think are the different types of blocking (since I know the two I threw out there do not comprise an exhaustive list)?

Thanks for allowing your brain to be picked.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------

I'm excited to see the responses to this, as it is something I also find challenging.

With my middle schoolers, who are often doing scene work for the first time, I use the basic distinctions that Ryan mentions, but sub-divide it a bit more.

We talk about reasons for moving on stage:
-to meet the needs of the script
-striving to achieve objective
-to show character relationships
-to convey status, status shifts
-due to strong emotion
-stage business (to give a sense of character and place)

Before this we have talked about sight lines, cheating out, and a bit about focusing attention. We have also worked on all of the elements in relation to their scenes (emotion, objectives, status, etc.).

In the context of scene work, with this age group I start by telling them to include at least four moves per actor, and to move for at least three different reasons.  Some of them need the specific numbers to get them started, others don't.  

Sometimes I use an activity in which, in the course of rehearsing the scene, each actor declares before each move: "I am moving because/to ..."  It can help to force them to articulate it.

Separate from scene work, I sometimes play with "Chance Blocking" (idea stolen from dance, rolling dice to determine moves).  It gets them moving and thinking about connecting the moves to the content of the scene by flipping the order (blocking first, improv second).  Handout with instructions is attached.

And, like Cassy, we definitely talk about triangles!





------------------------------
Kristin Hall
Drama Director
Lincoln Public Schools
Lincoln MA
------------------------------

Original Message:
Sent: 10-24-2019 10:02
From: Cassy Maxton-Whitacre
Subject: Activities for teaching Blocking

I do a lesson on composition and stage pictures with my seniors, and I find this article to be quite useful. http://broadwayeducators.com/working-with-student-actors-geometry-can-help-them-be-more-effective-on-stage/
Then we do exercises to experiment with depth, levels, and triangles. Plus we explore topography when we do Viewpoints.

------------------------------
Cassy Maxton-Whitacre
Theatre Department Coordinator
Fishersville VA

Original Message:
Sent: 10-23-2019 11:11
From: Ryan Moore
Subject: Activities for teaching Blocking

Lately I've found myself trying more and more to articulate to students that there are what might be called "levels" of blocking (not to be confused with vertical levels as an element of composition; perhaps "types" would be a less confusing term).  There is what I know I have seen called "obligatory blocking" (although I don't recall where and "obligatory" is bit of a mouthful for middle schoolers) i.e. the blocking absolutely required by the script for the story to make sense.  And then there is what I've taken to calling "expressive blocking" i.e. movements that physicalize and give us insight into a character's thoughts and feelings.

A couple of questions:  Does anyone have favorite activities to teach concepts like this?  Does anyone have a good resource that spells out such concepts clearly (either a resource for teacher or student)?  Do we have common language around these concepts as theatre educators?  What do you think are the different types of blocking (since I know the two I threw out there do not comprise an exhaustive list)?

Thanks for allowing your brain to be picked.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------

Kristin, like you I often give the students some minimum requirement for particular moves (e.g. x number of crosses, x number of level changes, x number of gestures, etc.).  Certainly this an feel artificial, but many kids won't move a muscle without a lot of encouragement.  Happily, many students understand that a minimum is a minimum and go beyond these initial requirements.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------

Original Message:
Sent: 10-24-2019 13:26
From: Kristin Hall
Subject: Activities for teaching Blocking

I'm excited to see the responses to this, as it is something I also find challenging.

With my middle schoolers, who are often doing scene work for the first time, I use the basic distinctions that Ryan mentions, but sub-divide it a bit more.

We talk about reasons for moving on stage:
-to meet the needs of the script
-striving to achieve objective
-to show character relationships
-to convey status, status shifts
-due to strong emotion
-stage business (to give a sense of character and place)

Before this we have talked about sight lines, cheating out, and a bit about focusing attention. We have also worked on all of the elements in relation to their scenes (emotion, objectives, status, etc.).

In the context of scene work, with this age group I start by telling them to include at least four moves per actor, and to move for at least three different reasons.  Some of them need the specific numbers to get them started, others don't.

Sometimes I use an activity in which, in the course of rehearsing the scene, each actor declares before each move: "I am moving because/to ..."  It can help to force them to articulate it.

Separate from scene work, I sometimes play with "Chance Blocking" (idea stolen from dance, rolling dice to determine moves).  It gets them moving and thinking about connecting the moves to the content of the scene by flipping the order (blocking first, improv second).  Handout with instructions is attached.

And, like Cassy, we definitely talk about triangles!





------------------------------
Kristin Hall
Drama Director
Lincoln Public Schools
Lincoln MA

Original Message:
Sent: 10-24-2019 10:02
From: Cassy Maxton-Whitacre
Subject: Activities for teaching Blocking

I do a lesson on composition and stage pictures with my seniors, and I find this article to be quite useful. http://broadwayeducators.com/working-with-student-actors-geometry-can-help-them-be-more-effective-on-stage/
Then we do exercises to experiment with depth, levels, and triangles. Plus we explore topography when we do Viewpoints.

------------------------------
Cassy Maxton-Whitacre
Theatre Department Coordinator
Fishersville VA

Original Message:
Sent: 10-23-2019 11:11
From: Ryan Moore
Subject: Activities for teaching Blocking

Lately I've found myself trying more and more to articulate to students that there are what might be called "levels" of blocking (not to be confused with vertical levels as an element of composition; perhaps "types" would be a less confusing term).  There is what I know I have seen called "obligatory blocking" (although I don't recall where and "obligatory" is bit of a mouthful for middle schoolers) i.e. the blocking absolutely required by the script for the story to make sense.  And then there is what I've taken to calling "expressive blocking" i.e. movements that physicalize and give us insight into a character's thoughts and feelings.

A couple of questions:  Does anyone have favorite activities to teach concepts like this?  Does anyone have a good resource that spells out such concepts clearly (either a resource for teacher or student)?  Do we have common language around these concepts as theatre educators?  What do you think are the different types of blocking (since I know the two I threw out there do not comprise an exhaustive list)?

Thanks for allowing your brain to be picked.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------

I call obligatory blocking simply one of the givens.  When we do analysis we look for any information that the playwright expects (has given) us to communicate and then we talk about how to expand those givens to further the intention of the piece.  

The texts Acting for Life (Frakes) and Directing for the Stage (Converse) have great activities to teach blocking.

------------------------------
Amy Learn
Ballwin MO
------------------------------

Original Message:
Sent: 10-23-2019 11:11
From: Ryan Moore
Subject: Activities for teaching Blocking

Lately I've found myself trying more and more to articulate to students that there are what might be called "levels" of blocking (not to be confused with vertical levels as an element of composition; perhaps "types" would be a less confusing term).  There is what I know I have seen called "obligatory blocking" (although I don't recall where and "obligatory" is bit of a mouthful for middle schoolers) i.e. the blocking absolutely required by the script for the story to make sense.  And then there is what I've taken to calling "expressive blocking" i.e. movements that physicalize and give us insight into a character's thoughts and feelings.

A couple of questions:  Does anyone have favorite activities to teach concepts like this?  Does anyone have a good resource that spells out such concepts clearly (either a resource for teacher or student)?  Do we have common language around these concepts as theatre educators?  What do you think are the different types of blocking (since I know the two I threw out there do not comprise an exhaustive list)?

Thanks for allowing your brain to be picked.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------

As for "expressive blocking," I tell my students that (in general) physical proximity should mirror emotional closeness. So if they want something from the other person, or feel close to that person, they will tend to approach (which also means every scene is not locker-bay-conversation close), and if they are rejecting the other's ideas, intentions, etc, not wanting to accept what's being said to them, feeling cut off or "distant," they should move away.  It's a good starting point.

A fun exercise to practice making these decisions is either to have each hold an end of a rope, and pull or let it go slack throughout the line-run, or just have them face toward or full-back away, and move closer or farther from their partner.

------------------------------
Douglas "Chip" Rome
Theatre Consultant
Educational Stages
Burke VA
http://bit.ly/EdStages
http://bit.ly/RWTEOview
------------------------------

Original Message:
Sent: 10-23-2019 11:11
From: Ryan Moore
Subject: Activities for teaching Blocking

Lately I've found myself trying more and more to articulate to students that there are what might be called "levels" of blocking (not to be confused with vertical levels as an element of composition; perhaps "types" would be a less confusing term).  There is what I know I have seen called "obligatory blocking" (although I don't recall where and "obligatory" is bit of a mouthful for middle schoolers) i.e. the blocking absolutely required by the script for the story to make sense.  And then there is what I've taken to calling "expressive blocking" i.e. movements that physicalize and give us insight into a character's thoughts and feelings.

A couple of questions:  Does anyone have favorite activities to teach concepts like this?  Does anyone have a good resource that spells out such concepts clearly (either a resource for teacher or student)?  Do we have common language around these concepts as theatre educators?  What do you think are the different types of blocking (since I know the two I threw out there do not comprise an exhaustive list)?

Thanks for allowing your brain to be picked.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------

There are technical considerations for blocking as well:

• In fight choreography the moving actor should not have motion that might lead them to run / fall / slide off of the stage front, or into hard scenery, or into the proscenium walls and be injured.  Similar considerations for dancing and tumbling.
• When floor microphones or microphones embedded into scenery / flower pots, etc., are used, it is important that the speaking actor has a clear line between their mouth and the microphone -- no other actor(s) between them.
• Unless an actor is mic'ed, they can't deliver their lines facing upstage - no one will hear them!
• If a scene has special lighting that the actor needs to be in, or specifically be outside of so they don't cast a shadow, then they need to know where the light is.  Most lighting is static and cannot be moved by the lighting operator to fix the missed blocking!  In the old days (pre LED, pre SourceFour), the light from an instrument projected a substantial amount of heat to the stage, so an actor could 'feel' the light by the warmth it provided, but today this generally does not work.
• Some effects require the actor to be in a specific location to avoid a deliberately dropped object, a pyrotechnic effect, a confetti cannon blast, a thrown object (spear, ball, arrow, etc.), a door opening, or a trap door pop-up.  Effects Trigger protocols for the effects team have to include spotters to ensure that a performer is in a safe location before an effect is triggered.

------------------------------
Erich Friend
Theatre Consultant
Teqniqal Systems
------------------------------

Original Message:
Sent: 10-23-2019 11:11
From: Ryan Moore
Subject: Activities for teaching Blocking

Lately I've found myself trying more and more to articulate to students that there are what might be called "levels" of blocking (not to be confused with vertical levels as an element of composition; perhaps "types" would be a less confusing term).  There is what I know I have seen called "obligatory blocking" (although I don't recall where and "obligatory" is bit of a mouthful for middle schoolers) i.e. the blocking absolutely required by the script for the story to make sense.  And then there is what I've taken to calling "expressive blocking" i.e. movements that physicalize and give us insight into a character's thoughts and feelings.

A couple of questions:  Does anyone have favorite activities to teach concepts like this?  Does anyone have a good resource that spells out such concepts clearly (either a resource for teacher or student)?  Do we have common language around these concepts as theatre educators?  What do you think are the different types of blocking (since I know the two I threw out there do not comprise an exhaustive list)?

Thanks for allowing your brain to be picked.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------

My favorite activity to introduce blocking is human tic tac toe! I use painters tape to make a large tic tac toe board on the stage. Then split the class into teams. Each team picks a captain and they come to the POV of the director. They have to use stage directions to tell their teammates where to go on the stage. Each team has to find creative and different ways to make the "X" and "O" and to then connect once they have 3 in a row. It's a lot of fun and a simple way to introduce stage directions.

------------------------------
Kristi Jacobs-Stanley
Louisiana Co-Chapter Director
------------------------------

Original Message:
Sent: 10-23-2019 11:11
From: Ryan Moore
Subject: Activities for teaching Blocking

Lately I've found myself trying more and more to articulate to students that there are what might be called "levels" of blocking (not to be confused with vertical levels as an element of composition; perhaps "types" would be a less confusing term).  There is what I know I have seen called "obligatory blocking" (although I don't recall where and "obligatory" is bit of a mouthful for middle schoolers) i.e. the blocking absolutely required by the script for the story to make sense.  And then there is what I've taken to calling "expressive blocking" i.e. movements that physicalize and give us insight into a character's thoughts and feelings.

A couple of questions:  Does anyone have favorite activities to teach concepts like this?  Does anyone have a good resource that spells out such concepts clearly (either a resource for teacher or student)?  Do we have common language around these concepts as theatre educators?  What do you think are the different types of blocking (since I know the two I threw out there do not comprise an exhaustive list)?

Thanks for allowing your brain to be picked.

------------------------------
Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
------------------------------