General characteristics of the profession of director. Profession "Director": description, pros and cons

Stage director(fr. regisseur, from lat. rego manage) - the head of a creative team working on the creation of a film, play or show. The profession is suitable for those who are interested in world artistic culture (see choosing a profession based on your interest in school subjects).

Features of the profession

The production director is responsible for the artistic component of the work. Actors, cameramen, sound engineers, production designers, movement directors, etc. work under his leadership. The literary basis is a script or a play, and the production director is not always their author. But in the end, it is he who is responsible for what the viewer sees. The success or failure of the project will be associated with his name.

A production director can specialize in staging feature films or documentaries, theatrical performances, circus programs, musical shows, and public events.

Usually the production director is simply called the director, because and without a clarifying “trailer” it is clear that he is responsible for the production. This applies to any production director, regardless of specialization.

Let us describe some options for this profession.

In the theatre the director manages the creative team involved in the production: he selects actors, works with them on roles, together with the sound engineer and stage designer thinks through the design of the performance, etc. At the same time, he reports to the creative director of the theater (if he is not one himself), and they jointly select the plays for the production. The assistant director helps him solve organizational issues during rehearsals and during the performance. He interacts with technical services, actors, and makes sure that everything happens without a hitch during the performance.

Circus art radically different from the theatrical. Just as a circus troupe differs from a theater troupe: circus performers work in dynasties, practicing their routines for years. They often involve a risk to life. In addition, the circus troupe is not only people, but also trained animals. The circus works to entertain the public, and the main task of the circus director is to make each act as bright and spectacular as possible. All this brings its own specifics to the work of a circus director. However, the principles of his work are similar to the work of a theater director. He thinks through the intrigue of the performance, works with the actors, production designer, design engineers, prop makers, lighting engineers, sound engineer and other participants in the circus show.

Movie- This is a complex production process. (Like television.) A film director has a whole team of assistants: a second director, a director for working with actors, an assistant director (an assistant director who keeps track of the footage), consultants, etc.

Although at least two of this crew are designated by the word "director", they perform other tasks. For example, the second director (in Western cinema - First Assistant Director) helps the production director in developing the director's script, formulates information for makeup artists, costume artists, acting assistants, etc., and plans the filming process. And he makes sure that the entire production process goes smoothly, that the set is ready for work every time, that the actors and costume designers are in their places, etc. This is a very large amount of work, and usually a film director has two second directors. The acting director (also known as acting assistant or casting director) looks for suitable performers for roles and organizes their photo and screen tests.

The main organizational burden when creating a film is borne by producers, who deal with issues of budget, distribution, etc. The film producer is also responsible for attracting key participants in the process, including the director, unless, of course, he himself is the initiator of the production. Both the producers and the director report to the management of the film studio. The director's work on the film begins with the script. He can take a ready-made script, or he can write it himself or in collaboration with a professional screenwriter. He can take as a basis a finished literary work or a completely fresh plot. Even if a film director makes a film based on a ready-made script, he finalizes it in his own way: second-by-second and frame-by-frame he describes the shooting plan for each scene. The result is a director's script. He always studies materials related to the theme of the film and turns to specialists who can advise him on some issues. Participates in drawing up estimates and, together with the producer and second director, outlines a work plan. Together with the production designer, chief cinematographer, and sound engineer, he discusses the artistic concept of the film and its design, approves sketches, designs, scenery, etc. Together with the composer and sound engineer, he outlines the explication of the sound (graphic diagram). Selects actors (with the help of a casting assistant), works with each of them on the role, rehearses scenes, etc. Supervises the filming. When the filming process is completed, he selects the necessary takes and manages the editing and dubbing process.

Some directors successfully combine work in theater and cinema. For example, the artistic director of the Lenkom Theater Mark Zakharov became known back in the 1960s as a theater director. Having headed the theater in 1973 (at that time - the Moscow Theater named after Leninsky Komsomol), he very quickly brought it to the ranks of the most popular in Moscow. Each performance by Zakharov is an event in the theatrical life of the capital: “Funeral Prayer”, “Royal Games”, “Barbarian and Heretic”, the legendary “Juno and Avos” and many others. At the same time, he is the author of wonderful films loved by millions: “The Twelve Chairs”, “An Ordinary Miracle”, “That Same Munchausen”, “The House That Swift Built”, “Formula of Love”, “Kill the Dragon”.

Workplace

A production director can work in cinema, television, theater, circus, etc. - depending on his specialization. Although some directors successfully realize themselves in different fields.

Salary

Important qualities

The profession of a production director requires artistry, imaginative thinking, good intelligence, broad outlook, imagination, self-discipline, high ability to work and leadership qualities. And another important quality is a sense of modernity. The director must feel how relevant a particular topic or idea is in the modern world.

Knowledge and skills

The director must master the theory and practice of directing, acting, the basics of stage and musical design, cinematography, and understand the laws of dramaturgy. Knowledge of the history of literature, fine arts, theater, and cinema is very important. Knowledge of classical and modern works of drama and cinema is required. Knowledge of foreign languages ​​is desirable.

Where to study to become a stage director

Drama and musical theater

• Russian University of Theater Arts - GITIS. Directing department. Department of Drama Directing
• St. Petersburg Humanitarian University of Trade Unions. Faculty of Arts. Specialty: Theater Directing
• Theater Institute named after. B. Shchukina. Directing department. Specialty: Theater Directing

And other universities of theatrical art.

Circus, show programs

• Russian University of Theater Arts - GITIS. Directing department. Department of Circus Directing. Specialty: Circus Directing
• Moscow State University of Culture and Arts (MGUKI). Theater and Directing Faculty. Specialty: Theater Directing. Specialization: Variety Directing. Specialty: Directing theatrical performances and celebrations. Specializations: “Directing theatrical performances and celebrations” and “Directing show programs.”
• Russian State University of Physical Culture, Sports and Tourism. Direction "Directing theatrical performances and celebrations"

Film and television

• All-Russian State University of Cinematography named after S.A. Gerasimova (VGIK). Directing department. Specialties: “Directing feature films”, “Directing non-fiction films”, “Directing animated films”;
• Higher courses of cinema and television at VGIK. Professions: “Film directing”, “Directing non-fiction films and television films”;
• Humanitarian Institute of Television and Radio Broadcasting named after. M.A. Lithuania (GITR). Faculty of TV and Multimedia Directing.

DIRECTOR

director in cinema, a film director who leads the creative and production work on its creation. The director determines, on the basis of the script, the ideological and artistic concept of the film and brings it to a holistic embodiment, directing the joint work of the actors, cameraman, artist, composer and other participants in the production.

The most important moment in the initial stage of a director’s work on a film is choosing a script or participating in its writing. The director's plan can completely predetermine the creation of the script's plot, so some major directors constantly (for example, C. Chaplin, A. P. Dovzhenko, R. Kler, I. Bergman) or, when necessary, act as the authors of the scripts for their films. Many masters of directing art prefer to collaborate primarily with one screenwriter (V. I. Pudovkin with N. A. Zarkhi, Yu. Ya. Raizman and S. I. Yutkevich with E. I. Gabrilovich, J. Ford with D. Nichols, V. . De Sica with C. Zavattini). In cases where the director accepts a ready-made script for production, he either interprets it from the point of view of the general direction of his work, his capabilities and aspirations, or uses it as a basis for working on a new theme and style.

After working with the screenwriter, including a detailed clarification of the concept, necessary amendments and finalization of scenes, the period of writing the director's script begins.

Despite the fact that various clarifications may arise during the production process, and much will be decided by the method of improvisation, it is the director’s script that largely determines the artistic quality of the film. As a rule, the director creates this script with the participation of the cameraman and the artist, since they, therefore, contribute to the extent that the specific embodiment of the plot on the screen is predicted and “seen” in advance. The director's script is also called an "editing script", because it prescribes the editing structure of the entire film and the editing developments for each scene. The director's script also outlines the footage of the episodes and all individual frames, the nature of the lighting of various scenes, the necessary elements of the setting, the location of the filming camera, etc.

The director's script is a kind of film score.

Many prominent directors define the meaning of a director's script differently. Some (L.V. Kuleshov and Claire) tend to ensure that the film in all its details is completely and finally predicted “on paper”; others (F. Fellini) allow significant changes in the script data that arise through improvisation during filming.

The preparatory period occupies a significant place and time in the production of a film. At this time, actors are approved for main and secondary roles, locations for location shooting are determined, sketches of sets and costumes are developed, cost estimates for film production, etc. This also includes preliminary rehearsals with actors (practised by some directors).

The filming process includes filming on stage and on location, which are the most labor-intensive for the director, as they sometimes involve complex expeditions, depend on climatic and weather conditions, etc. As a rule, each frame is shot with takes (that is, more than once), and sometimes in different versions so that the director can choose the best shots that most closely correspond to the original plan and tasks assigned to the actors.

Before the end of filming, the editing period begins: while viewing the filmed material, the director comes to the final determination of the structure of the film and all its constituent elements. Together with the editor, the director finds the exact duration, sequence and rhythmic relationship of various shots and episodes, in some cases even coming to a new solution for the composition of films as a whole. The editing period, which is completely completed upon completion of filming, includes shading (that is, scoring) of the film: sound recording of dialogues and noises, for one reason or another, not recorded or poorly recorded during filming, as well as music composed for this film by the composer or selected director from one source or another. This work ends at the re-recording stage, when the entire necessary composition of sounds is brought together by the director and sound engineer, in precise combination and correlation.

The production of the film ends with the creation of a so-called reference copy, the artistic and technical quality of which satisfies the plans of the director, cameraman, and sound engineer.

The director's profession and the amount of director's work in developed film production require a division of functions between: 1) the production director, 2) the so-called second directors, to whom the director can transfer management of certain areas of the production (for example, working with actors) or the filming of certain scenes, based on the general concept, 3) assistant directors, providing the necessary assistance to the director in his various creative functions. See also .

Cinema: Encyclopedic Dictionary. - M.: Soviet Encyclopedia. Ch. ed. S. I. Yutkevich; Editorial team: Yu. S. Afanasyev, V. E. Baskakov, I. V. Weisfeld and others.. 1987 .

See what “DIRECTOR” is in other dictionaries:

director- director … Russian word stress

director- director, and... Russian spelling dictionary

director- director … Dictionary of the use of the letter E

director- director/ … Morphemic-spelling dictionary

Director- at work (Cecile de Mille) Director (French régisseur, from Latin ... Wikipedia

director- director, directors, director, directors, director, directors, director, directors, director, directors, director, directors (Source: “Full accentuated paradigm according to A. A. Zaliznyak”) ... Forms of words

DIRECTOR- DIRECTOR, director, husband. (French régisseur). The artistic director of a theatrical or cinematic production, who combines all the work on preparing the performance. Director of the play. I believe that to grow a role organically you need... ... Ushakov's Explanatory Dictionary

DIRECTOR- DIRECTOR, ah, husband. Creative worker, artistic organizer, director of theater, film or television productions, and entertainment programs in general. R. director. | adj. director's, oh, oh. A new director's decision for the play. Intelligent... ... Ozhegov's Explanatory Dictionary

director- A; m. [French] régisseur from Lat. rego manage] Artistic director of a play, film, radio broadcast, etc.; director R. performance. R. came to the first rehearsal with a ready-made production plan. ◁ Director's, oh, oh. Roy talent... encyclopedic Dictionary

DIRECTOR-R- M. French manager of actors, acting, performances, assigning what to give or stage, distributing roles, etc. Dahl's Explanatory Dictionary. IN AND. Dahl. 1863 1866 … Dahl's Explanatory Dictionary

Director- this is the person who produces the film, manages the filming process or rehearsals, if we are talking about the theater. More precisely, directors on the set some: the main director is called production director, his closest assistants are simply directors. In both cases, the basis of his work is.

Today, many people dream of becoming directors, because the profession is becoming more and more prestigious. Famous masters of their craft receive awards and bonuses, walk on the red carpet, give interviews, and communicate with the best actors and actresses. However, the director's job was not always like this. At the beginning, at the stage of the emergence of the profession, the director was developing the script, working with the actors, and managing the filming process. But times have changed and imposed more and more new responsibilities that make the profession interesting and difficult at the same time.

What does a director do?

Now, in order to become successful in his business, a director must have a keen sense of quality ideas, amazing scripts, the timing of the film’s release, and the needs of the public. He looks for funds, interests investors and producers, selects actors and crew, and manages the process of creating and editing the film. There are gradually becoming fewer and fewer barriers and restrictions as the range of director's responsibilities grows.

Domestic specialists differ in many ways from Western ones, since Hollywood directors do not recognize those who put themselves above the rest. Therefore, they do the maximum amount of work, making every effort to ensure that the picture is of high quality and successful.

After their first success, domestic directors often become arrogant and refuse to fulfill certain duties, as a result of which they quickly lose popularity. Only a select few workaholics and true talents are still interesting to viewers.

Working rights and responsibilities of the director

The director's responsibilities include coordinating the entire process of making a film, so it is he who receives awards or suffers complete collapse if his film fails. The director’s work requires complete dedication, since the specialist not only carefully selects the script, adapts it to his vision and attitude, that is, creates, selects the optimal cast, which will be the ideal embodiment of certain images, and finds an approach to each of them.

After the end of the filming process, the director’s work does not end, since he is obliged to control the editing, sound and special effects. The latter often play a decisive role in the quality and popularity of the picture. Only after all the work has been completed and the film has been released can the director consider his work completed and expect praise or criticism from specialists and ordinary viewers.

A typical director's job description includes rights and responsibilities, and usually also contains a clause on the responsibilities of the parties to the contract. The job responsibilities of a theater director, for example, include developing a repertoire, staging performances, and organizing educational work. Drawing up cost estimates and a cash flow plan is also often entrusted to the director.

In general, the functions of a director represent a set of responsibilities of a good manager, and directing as a profession implies appropriate thinking and excellent organizational skills.

Concept and implementation

Concept and implementation are the two pillars on which modern directing stands. Many directors describe their ideas in great detail; some, on the contrary, believe that improvisation is the main trump card of practical directing. Of course, it is foolish to underestimate the importance of the preparatory stage, but the history of directing says that the most important working moments still take place on the set. This could be a theater stage or a film studio. Undoubtedly, without actors it would be impossible to realize all the richness of the director's imagination.

The main functions of a director include working with actors. Of course, ideally, the creative understanding of the director and actors should completely coincide. However, in practice, one can more often observe a situation where they either strive to meet each other halfway, or what the director does cannot be called anything other than the active imposition of the only correct point of view.

Sometimes even eminent masters do not consider it necessary to hear the opinion of the executor of his “most serene” will. But what the director does is create characters. It cannot be carried out without bypassing the soul and creative potential of the actor.

In accordance with the classical principles of directing, the following components of the plan (the basics of directing) are distinguished:

• creative interpretation of the script;
• description of characters;
• determining the features of acting;
• rhythms and tempos in the temporal aspect of the work;
• spatial solution (the so-called directing space);
• decorative and sound design.

In conclusion, it should be noted that timely and thorough performance of the duties of a director will make a true master out of a diligent beginner.

The director of a film is in many ways similar to the conductor of an orchestra. Firstly, as a conductor, he must put together in his mind an ideal of how the music should sound, and the director must see in his mind how the film should look. Second, like a conductor, a film director must communicate his vision to the various performers so that everyone works toward a unified vision.

The director's work is sometimes compared to the work of a field general, constantly giving orders to military personnel. Although some directors work this way, they were generally disliked and were not successful for a long time. The most effective directors communicate their vision and encourage staff and actors to participate in the process, bringing out their best creativity.

In reality, these two processes of creating a vision and sharing it with the group are one ongoing process, initiated by the director, and constantly evolving, because all team members contribute, and the director implements ways to improve and develop the overall vision.

Of course, the director's job is to communicate. Although some directors are the creators of the film and play several roles at the same time, the only tasks specific to the director's work will be conversations, listening and persuasion.

The director needs to be able to write and tell stories well, and be able to use all the available tricks and tricks to better perceive these stories for listeners. Good directors keep notebooks or journals where they keep their thoughts, ideas and plans for the film, so they can turn them on at the right time to make sure nothing gets forgotten in the chaos of production.

Reading the script

The director's primary task during the pre-production period is to read the script. In many independent films, the director is also the screenwriter, so you would think that the writer would already know the story and could skip this step. When the vision of the picture is formed, you should not neglect this step.

This is the period when the director can freely look from the outside at the script as the basis of the film, dive deeply into the plot in order to clarify the initial conditions, find all the hidden meanings, psychological intrigues, ordinary questions, an explosion of feelings, images, sounds and smells, so that be able to articulate it all into one powerful and memorable vision.

The writer-director is often at a disadvantage here because it will be more difficult for him to read the script and evaluate it with fresh eyes.

1. Read the script as if you were watching a finished film, and you have no idea how it will end. Just let the story play out in your imagination.
2. After reading the script, write down your thoughts in your notebook. Pay special attention to what emotions you felt. Your job will be to make a film that evokes these sensations and emotions in the viewer with maximum effect. If some action is not emotional, also note this. Try to resist the temptation and come up with adjustments at this point in the plot. Now you are trying to understand how this story works.
3. Finally, decide what the emotional core of the film is. What is this movie really about? What goals and obstacles to achieving them do individuals encounter, what emotions did the story evoke, how will it affect the audience, what will the viewer learn from the characters.

Alternatively, you could have your friend read the script and see if the story evokes the same reactions in them as it does in you, or if the script even works.

In-depth structural analysis of the scenario

At the preparatory stage of the director's work, the script is broken down into pieces in order to find out what makes this plot act on people.

Determine exactly what the essence of each character is, what life ideas he pursues during the story and what he strives for. Each character has goals to entrust, destroy, ridicule, teach, accuse, heal, learn, find, change or conquer. Most of them will have external and internal tasks. For example, the external task may be to build a house, and his internal task will be to demonstrate his abilities and convince his friends of his importance.

Such tasks exist even before events begin to develop, or can form at the beginning of the plot. Define these tasks for each hero.

What obstacles stand in the way of achieving the goals set by the heroes? In interesting stories, the obstacles are internal, based on the psychological aspects of the person, but are presented in the form of more obvious external circumstances, such as other characters or natural phenomena such as a raging snowstorm.

What actions should the characters take to try to overcome obstacles and achieve their goals? These are the real steps that need to be taken along the way.

What tools and opportunities can the characters take advantage of? These will be some clarifications in the text, presented in the form of adverbs, for example, calmly, proudly, energetically, quickly or charmingly.

What adjustments do characters make when their actions and attempts fail?

Review each character's goals, obstacles, methods, actions, and role adjustments for each scene in which they participate. Mark important notes in your notes. These will be very useful and necessary comments when you are able to provide strong and precise instructions to the actors while working on the set.

Also, try to determine in each scene what real actions the characters can engage in, so that you don’t stand around reading out your dialogue. In reality, people, in order to carry out their tasks and during various dialogues, are always busy with something, for example, cooking, reading books, surfing the Internet.

Working with a screenwriter

If the director is not the writer of the script, it is very important that the director and screenwriter be able to establish a good working relationship during pre-production and maintain it until filming. The screenwriter sees the plot and developments in his imagination, and the director needs to translate that story into real scenes in real places with real actors playing their roles and performing on stage within a certain budget. This can often lead to disagreements in seeing the big picture. In addition, screenwriters often become too attached to their own opinions and cannot appreciate any innovations proposed by the director with fresh eyes.

The director should always maintain his positive attitude and enthusiasm for the written script. Recognize that the scriptwriter worked on this work for months or even years in relative isolation. They understandably have an ego kick in and may be reluctant to consider change.

It is common practice at large film studios to hire a second screenwriter immediately after signing the rights to a script, who will make the necessary changes and thus can prevent a clash of two creative egos. It will also allow a new writer and director to take a completely new approach to the story.

If a new writer is not brought in, the director needs to determine what he can do with the writer's original version. Answer the following questions:

• What initially inspired the screenwriter for this story?
• What is the reason for writing this story?
• What life lessons does this story teach?
• How does the screenwriter feel, what is this story all about?
• What does the writer think about the main relationships in the story?
• What is the background to this plot and the biography of the main characters?
• Are there any characters based on real people and what is the point of that?

The writer and director will no doubt find differences, and it is important to work from the most basic areas of agreement to the most specific areas where there are differing points of view, in order to resolve them. Ultimately, you need to come to a common vision between the director and screenwriter.

You can almost always find weaknesses in scripts. The director must make it a point to ask tough questions about the logic and truthfulness of the emotions in the script. The director should also include "What if..?" questions when suggesting any changes to the story, such as casting the hero as the villain, or changing the actors' actions in key scenes.

These questions will almost certainly lead to the need to rewrite the script, and will add weight to the story. Some writers are better than others when it comes to rewrites, and some will simply give it up if they don't feel mentally prepared or aren't willing to make changes that the director feels are necessary.

This will make it clear to independent filmmakers that it is important to buy back the rights to a script, otherwise the entire production could be shut down by a disgruntled screenwriter.

One important factor to remember about re-recording is that re-recording one scene can change the logic of the rest of the script, which can force other scenes to be re-recorded. This can delay the preparatory process for a long time. The challenge is finding the balance and writing a script that is strong and impactful without needing absolute perfection.

Reading a film script

A valuable technique at this stage is for the actors to read from the rewritten script. This can be a pretty smart and objective move, especially when the actors haven't read the script yet, or when the actors are still rehearsing their lines in discussion with the director. It is advisable for the screenwriter to be present at the reading of the script so that he can understand the key points of the story when they are presented in something other than in the author's head.

Scenario reanalysis

Now that the script has been refined, the director needs to re-analyze the script to update and expand the notes to fully understand the goals, the obstacles encountered, the methods of achievement, the actions of each character from scene to scene, step by step. These comments will be invaluable during the shoot. An assistant director is often involved in this part of the work; the following points are determined here:

• How many actors and what types are needed?
• How many scenes will each actor participate in, and how long will his overall presence on screen last?
• Requirements, number and types of premises/locations
• What stunts and special effects are present in the film?
• What special costumes and makeup will be required?
• What details will be needed?

Such analysis of scripts is often carried out by professional companies in large films. Good script analysis is an invaluable production tool in films of any size.

An important part of script analysis will be to accurately determine the duration of each scene, which is calculated by the proportion of text occupied on the page. The number of page shares each scene takes up, in the upper left corner of each scene.

Considering that a film crew's daily schedule is limited to 2-5 pages, which is highly dependent on many factors, knowing the total number of scenes shot per day will help keep the schedule fairly on track.

Selection of creative team

The director's next task will be to select a creative team. Usually this process extends over the entire preparatory period.

The creative team is part of the film crew, and it will help carry out the work of implementing the director's idea and realizing the director's vision. The rest of the crew will be more like soldiers, performing specific tasks and only occasionally working on the creative process.

The creative group usually consists of the following persons:

• Cinematographer, or Director of Photography, who is responsible for the creative work of the camera and lighting.
• A production designer, or Technologist, who is responsible for creating the visual appearance of a film, working with sets, costumes, and makeup.
• Head of the acting department, works with the director to select the best available actors for the film.
• Actors.
• An editor-editor who works with the director to create a cohesive film from individual scenes and shots.
• The head of the music department, or composer, is responsible for selecting the right music to match the emotions of the current scenes.

The director interviews and selects suitable people to co-author the film, shares his vision with them, and then talks and communicates with them, encouraging them to help in realizing the plan.

Sometimes this process can lead to some sort of creative conflict. The director needs to apply his communication skills and ability to persuade and resolve conflict situations until a common solution is found, ultimately achieving a better result.

Actors casting

In large production studios, the casting process is largely influenced by the producers, because... the results of negotiations with stars to sign contracts often trump questions of artistic ability. For independent filmmakers, the process of finding actors can be a busy and challenging process.

For more details about casting, see the corresponding section.

Main rehearsals

The director is responsible for preparing the actors for their work, conveying to them his performance and vision of the film during rehearsals. Rehearsals are described in more detail on the corresponding page.

Directing as a profession.

The art of directing was born simultaneously with the emergence of entertainment art, and the profession itself, as we understand it now, was finally formed by the end of the 19th century. In Russia, directing is associated with the opening of the Moscow Art Theater in 1898, and its outstanding representatives at that time were theater directors - K.S. Stanislavsky and V.I. Nemirovich-Danchenko.

In Ukraine, the emergence of directing as a profession is associated with the names of M. Staritsky and M. Kropivnitsky, the founders of the first professional theater in 1882.

Directing did not stand still, it was in motion, in creative search.

Thanks to such extraordinary and bright personalities as K.S. Stanislavsky, V.I. Nemirovich-Danchenko, V.E. Meyerhold, L. Kurbas and many others. other talented masters, directing became independent and formed independent creative directions in theatrical art, while the director received a leading role. The director, from an initially unnoticed theatrical assistant on general issues, gradually turns into a full-fledged “owner” of the creative process and the entire stage. Today in the theater, in cinema and on the stage, in mass holidays and performances, the director is a leader who leads the entire creative team.

IN AND. Nemirovich-Danchenko succinctly and clearly defined the nature of directorial creativity:

1. A director-interpreter, because he shows how to play, so he can be called a director-actor or a director-teacher.

2. The director is a mirror who reflects the individual qualities of the actor.

3. The director is the organizer of the entire performance.

Thus, the director is both the organizer of the creative process, and the teacher, and the creator, and the first viewer - this is how some of his main functions can be briefly defined.

The complexity and specificity of a director’s professional activity lies in the fact that it is essentially a broad-spectrum activity and includes four interrelated areas that operate in inextricable unity:

Organizational and managerial;

Social-psychological;

Psychological and pedagogical;

Artistic and creative.

Each of them involves practical, creative and theoretical activities. Director-teacher V.A. Nelly identified the main qualities of a director:

The director must be a progressive person, an innovator, a son of his people and his era;

The presence of tact, endurance and high culture;

Comprehensive knowledge;

Poetic imagination;

Good taste, subtle taste in music, language, sense of rhythm;

Knowledge of drama, its technique, theory and history;

The director is the head of theatrical production, hence knowledge in all the details of the theater and its organization, technology and auxiliary means;

The actor is the main figure in the theater, its center and basis, so the director must know the actor and his work well;

To be a psychologist, to try to penetrate into the “life of the human spirit” in order to accurately and poetically create real life on the stage;

Be a natural person. While reading a play, “feel” the work and see it revealed on stage;

Drama is the art of action. The main quality of a director is the ability to note, capture the content of events, the ability to see different segments of life in which memory is manifested, which would preserve different types of action with which real life is filled;

Inexhaustible imagination, ingenuity, resourcefulness;

Strong will, clarity of perception, creative direction and the ability to foresee the result, i.e. the ultimate goal towards which creative efforts are directed;