Theater directing. Theater director

The director's profession belongs to the category of creative ones, and its essence lies in directing the creative process of creating a work - a film, a play, a circus performance, a variety show, etc.

A representative of this profession is responsible only for the creative side of creating a work. This distinguishes the director from the producer, who raises money for the project and resolves financial, technical, and organizational issues. However, there are masters who combine both roles and avoid possible conflicts of interest (commerce and creativity).

What types of directors are there?

Stage director

The production director is the main person who is responsible for everything that happens on the set or on stage. Actors, cameramen, sound engineers, screenwriters, decorators and other specialists report to him - he organizes them and is responsible for the final result. Therefore, the word “director” is not always used in relation to him.

Theater director

The tasks of the theater director include organizing and conducting all activities for staging the play - from working on the text of the play, selecting performers and scenery to staging the work, synchronizing the actions of the actors and their compliance with both the storyline and the artistic concept (both the author of the play and his own ).

Film editor

The profession of editing director (or film editing) hides an ordinary editor who brings together pieces of filming into one work (film, TV show, commercial, clip). Of course, this is not an ordinary technician who presses buttons on a computer, but a specialist who works side by side with the director, who knows all the subtleties and nuances of the future film and, in addition, knows how to perform all the technical functions.

The main task of the editing director is to make the output what the chief director expects.

Places of work

The position of director is provided for in many organizations producing entertainment and entertainment products:

• in film companies and film studios;
• in theaters and circuses;
• in large advertising agencies.

And some other organizations.

History of the profession

Before the advent of cinema, the profession of a director belonged to the theatrical field. At all times, there have been people who staged plays, performances and various shows. These could be playwrights, actors or someone else, but they were the progenitors of future directors.

The popularity of the theater and more complex productions around the second half of the 19th century gave birth to the profession of director. The Meiningen Theater, directed by Ludwig Kroneck, can be considered her birthplace.

Directors appeared in cinema almost immediately with its emergence: in the documentary genre - the inventors of cinema themselves, the Lumière brothers, in the fiction genre - Georges Méliès, in the animation - Emile Reynaud.

Over time, this activity became more diverse; not only film and theater directors appeared, but also circus directors, organizers of large public events, etc.

Director's responsibilities

The list and scope of specific tasks and responsibilities of the director can vary significantly depending on the direction and specifics of the activity. For example, a film director does the following things:

• writes or selects a script;
• determines the overall artistic style of the painting;
• selects actors and directs them;
• supervises the work of decorators, costume designers, screenwriters, cameramen, editors, assistants and other specialists;
• manages the installation procedure (sometimes participates in it).

For comparison, we will describe some of the functions of a television director who creates programs and broadcasts:

• creates scripts;
• accepts ready-made stories and programs;
• participates in editing television programs and advertising videos;
• works live.

Requirements for the director

The basic requirements for the director are simple:

• higher specialized education;
• experience in a certain field of directing: film, theater, television, etc.

At the same time, “profile” specialists (editing directors, sound engineers, etc.) are sometimes required to know the relevant equipment and software.

How to become a director

Becoming a director, especially a high-level one, is not so easy. To do this, you need to obtain a higher education in the specialty “director” - for example, graduate from the directing department of VGIK, a theater academy, a cultural institute, or another specialized university.

Moreover, it is advisable to choose an educational institution immediately according to the desired specialty: very few manage to retrain, for example, from a theater director to a film director during the course of their career.

Director's salary

How much a director earns is a big question. Famous artists make millions, but they always risk that their next creation will fail and they will end up in the red.

In addition to famous directors, there are also a lot of unnamed specialists. Their incomes are usually not very high. A director's salary can range from 30 to 250 thousand rubles per month (depending on the employer and the level of projects).

The centuries-old history of the theater knows periods of dawn and decline, and has thousands of names of great artists. Hundreds of times people who know and love theater have tried to explain the magical art of the stage, to discover the secrets of its influence on people.

Each era left its own theory of theater. Many theatrical trends emerged. But no one other than Stanislavsky united the creative experience of outstanding actors of the 19th and 20th centuries into a single harmonious system, discovered the objective laws of human behavior on stage, or tried to find a conscious path to the actor’s subconscious. He is not only a great actor and thinker, but also a brilliant director. He created a certain theatrical direction.

The Stanislavsky system creates an artist, a director - creates performances

The system is as simple as anything ingenious. And unimaginably complex. Who knows and loves life. He will understand her. Who is talented will master it.

The laws of the system are born from practice and practice confirms it. Every artist must one day discover it within himself. And having discovered, develop and improve the laws of creativity.

In just one hundred years, the concept of the director has undergone a significant revolution. The director is a manager, manager. In the middle of the last century, the concept of a director did not imply anything more. The manager is like at a festival, otherwise he is the scriptwriter. The play was learned and performed by the actors. The director made sure that costume designers, props, make-up artists, lighting technicians, and workers served the artists well and on time.

The art of theater directing is an acquisition of the second half of the 19th century. There are some discrepancies about when and with whom “it all began.” Some theater scholars trace the history of directing to the Duke of Meiningen and his assistant L. Kroneck, others to A. Antoine and O. Brahm, while others begin the history of the new theatrical era with the founders of the Moscow Art Theater Stanislavsky and Nemirovich-Danchenko. However, the latest theater studies again push back the time of the birth of director's art by several decades and trace its history exactly from the middle of the last century, linking the emergence of director's theater in Europe with the activities of Charles Kean at the London Princess Theater (1850 - 1859) and Heinrich Laube at the Vienna Burgtheater (1849 - 1867) Of course, not only because it was Laube who really turned out to be the first in the history of theater to turn directing into an independent profession. He came to the Burgtheater, already a famous playwright, but, having headed the theater, he did not write any more plays, because he believed that the duties of a theater director and director could not be combined with any other activities. The point is not at all that until the middle of the 19th century directing as a profession did not exist at all. The point is different - in the specific revolution that took place in theatrical art at the turn of the 19th and 20th centuries. The acting theater became a director's theater. That's the whole point. Not just a new profession appeared, a fundamentally new type of art was born - the art of theater directing.

The entire middle and second half of the 19th century is the pre-director era in the theater. This is a time when there were already directors, but the art of directing did not yet exist. Directing was just receiving citizenship rights. The profession, the position of director, already really existed in the theater, was designated in the theatrical nomenclature, but the functions of directing still continued to be purely auxiliary.

At the turn of the century, the emergence of director's theater in Europe took contemporaries “by surprise.” The emergence of the director as the first creative person confused everything: traditions, hierarchy, the relationship of the artist with the public and criticism, the very structure of theatrical production. The invasion of directing into the performing arts was perceived as something seriously threatening the very nature of the theater; the figure of the theater director was seen as a dangerous destructive force. And the director’s stage, as often happens in new things, really wasn’t very convincing. In 1889, he tried his hand at directing, staging P. Gnedich’s one-act comedy “Burning Letters”, Konstantin Stanislavsky. The performances of the famous European theater have become a good school for aspiring actors and aspiring directors.

Theater of the 20th century is the era of great directors. What does it mean? This means that we live in the era of director's theater. Modern theater - theater 070998 is the leader of the theatrical process, heads and conducts the theatrical business, it is the director who today determines the creative face of the theater, its ideological orientation, repertoire policy, its artistic style, handwriting, method, organizational and creative structure, its aesthetic and ethical principles.

“What” and “how” in directing are the relationships between the director and the author (with his era, environment, social circumstances), the director and the actor, the director and the time in which he lives and stages this performance. The director is responsible for the logic of connecting all the artistic structures of the performance, and - this is perhaps the most important thing - for connecting theater with life.

The director must be able to read and understand the play, he must also be able to hear and understand life. Only with a subjective, purely individual approach of the director to the play is directorial creativity possible, the creation and birth of new independent content is possible. And this content will be filled with the director’s individuality, personal attitude both to the world of the play and to the world of life itself.

Based on the author’s super- and super-task, from the author’s entire world and the specific integral life of his play and relying on his own knowledge, his intimate, spiritual, human experience, the director creates an independent concept of the play and performance. Exactly this independence makes the director an artist, creator, interpreter. Finding the way, not getting lost in the magical labyrinth of connections created by nature itself and the specifics of theatrical creativity - this is the main task of all theater artists. The difficulties of an actor in this work are incommensurable with anything. The creation of a stage character, the mystery of the birth of a living person in the circumstances proposed by the author and director, that is, the connection of a human actor with the individuality of the author, the alien soul of the role, the director’s plan - what could be more complex, inexplicable, more mysterious?... And how necessary is the actor here? the hand of the director, the sensitive and intelligent hand of the director-teacher. The director of the actor and his assistant, who, in the words of Nemirovich-Danchenko, is able to “simultaneously follow the will of the actor and direct it.” The actor is the follower in this work, the leader is the director.

“As Nemirovich-Danchenko said: the director is a three-dimensional being”

1. Director and interpreter of the play

2. The director is a mirror reflecting the individual qualities of the actor (to be able to manipulate, to be a good teacher and psychologist)

3. Director and organizer of the performance.

“A theater director today is not a stage director, he is the author of a play,” writes G.A. Tovstonogov. - the director’s possibilities in interpreting the play today are limitless. His role and responsibility for creating the performance has increased many times over, even compared to the heyday of Stanislavsky’s directing work... There is no need to be afraid to admit this, just as there is no need to be afraid to recognize natural changes in art...”

The director is responsible both for the logic of connecting all the artistic structures of the performance, and - this is perhaps the most important thing - for connecting the theater.

K.S. Stanislavski paid great attention to ethical issues. It includes ethics as a decisive condition for life and the development of art. In “Notes on Artistic Ethics and Discipline,” he wrote that an artist must obey not only the ethical laws accepted in society, but also artistic ethics (“narrowly professional ethics of stage activity”). Another ethical norm in the theater is knowledge of the text, since an actor who gets confused in his words disturbs both his partners and the audience. Particularly noteworthy is the need for a certain relationship between the director and the actor. It is necessary to consciously, for one's own success, submit to the will of the director and other artistic directors of the performance.

The practical results achieved by Stanislavsky made his system the greatest achievement of theatrical culture, a generally recognized, scientifically based method of acting. The true material of directing, from Stanislavsky’s point of view, is not the body or psyche of the actor, but his creativity. This leads to ch. director functions:

1) evoke a creative process in the actor;

2) continuously support and direct it towards a specific goal in accordance with the general ideological and artistic concept of the performance;

3) coordinate the result of each actor’s creativity with the result of the creativity of the other performers to create a harmoniously integral unity of the performance.

In the theater, as in any collective work, a certain organization, an exemplary order is necessary in order for the external, organizational part of the performance to proceed correctly, without interruptions. Iron discipline serves as such an organization. But even more order, organization and discipline are required by the inner, creative side - it requires inner discipline and ethics. Without this, it will not be possible to carry out all the requirements of the “system” on stage.

Ethical education is one of the most important principles underlying the professional education of an actor. As a worker in theatrical art, he must feel his responsibility to the audience, to the theater group, to the author of the play, to his partner and to himself. A sense of responsibility helps to overcome selfishness and contribute through your creativity and behavior to strengthening the cohesion and unity of the team.

If an actor does not possess such qualities as integrity, truthfulness, directness, a sense of duty, moral responsibility for himself and for the team, then he has nowhere to get these qualities even when he is on stage. To create the inner life of an image, the actor has no other material than that contained in his own intellectual and emotional experience. The “small” person will not play a big role.

First of all, the director should take care of the education of the theater group. If he is helpless or mediocre in this regard, then he is not only a bad teacher, but also an inferior director. After all, a truly good performance can only grow in a good moral and creative atmosphere.

The history of the emergence of the director's profession

In the course of various reforms and changes in political, cultural, social life, the well-established one began to falter and required restructuring. The destruction began with a breakdown in the harmony of dramatic action; the accepted hierarchy in the work of the troupe disintegrated. Previously, it was customary that the entire action was built around one of the characters, one person played the main role on stage throughout the entire play. There was a kind of pyramid of the troupe, the top of which were the premieres, the next step were those who played supporting roles, and even lower in this hierarchy were the tertiary performers.

But plays began to appear where the action covered more than one storyline, and there were several heroes, instead of one main one. The three-level hierarchy was replaced by an ensemble; first one or another performer came to the fore, depending on the development of the play. Such dramaturgy no longer allowed one actor to carry out spontaneous directing; roles were no longer created around which the entire action was revolved. During the course of the play several centers emerged. Playwrights were also losing their importance. At the same time, the role of decorators increased, which further deepened the conflict situation. The authors of the plays did not want to give up their positions; they tried to impose their opinions on the performers and artists through multiple stage directions and author’s instructions.

Initially, the director came from among actors and playwrights and only later became an autonomous figure. Although this process was quite rapid, the responsibilities of a representative of the new profession gradually changed and did not take shape immediately.

The tasks of the first directors of the Russian theater

1. Initially, he was required to resolve organizational issues.
2. Then the updated position of directors appeared - this is the recruitment of a troupe, the choice of repertoire, actors of a certain type, placement in suitable buildings.
3. Another area of ​​activity is organizing the creative process of working on a play.
4. Greater importance began to be given to the preparatory stage. It included: searching for materials, for example, for historical productions, reading a play, and rehearsing.
5. There was a need to unite the troupe around one person, submit to his will and maintain discipline. The director began to solve this problem.
6. His equally important responsibility was the function of educating the team in accordance with the repertoire and rules.
7. There is a need to educate the audience in new traditions and rules.
8. The expansion of functionality was especially expressed in, for example, the creation of complex mise-en-scenes. They could only appear with the assistance of the director, who saw the stage from the auditorium. Mise-en-scène, along with plastic arts and words, became the language of production.

When all this was concentrated in the hands of one person - the director, then he, and not the playwright or actor, became the author of the performance. His concept and composition became the basis; this made the performance itself more holistic.

In Europe, this position appeared in the second half of the 19th century. In Russia, this process proceeded at a slower pace, for which there were historical reasons. Russia was a young theatrical state. The development of this type of art in both capitals was slowed down by the monopoly law. According to it, only imperial theaters could operate in Moscow and St. Petersburg, while private enterprises existed in the provinces. The monopoly was abolished in 1882, this served as the basis for the emergence of private stage venues, but they found it difficult to compete with the existing ones, so they opened and closed, unable to withstand the competition.

Moscow Art Theater as the cradle of Russian directing

By the time the Moscow Art Theater appeared, the capital's public was already ready and was looking forward to the birth of the new temple of Melpomene. The historical one outlined the fundamental ideas of the existence of the new theater. During their famous conversation the following questions were discussed:

• stage ethics,
• technical side of things,
• process organization,
• repertoire,
• building relationships within the team and between two leaders.

On all counts, they already had a special plan for reforming the old complex stage body, and these ideas did not contradict, but only complemented each other. Dual leadership made it possible to use Stanislavsky's organizational talent - he was given the production part, and Nemirovich was responsible for the literary side of the process. The troupe included Moskvin, Knipper, Meyerhold and other amateur actors from the Alekseevsky circle and graduates of the Philharmonic Society. The new directors’ program for the future of the theater came together right away; not everything was accomplished at first; some things came easy; others took many years to achieve.

The ideal was a troupe without hierarchy, created on creative and social equality. The entire process of preparing and working on the play at the Moscow Art Theater was structured differently than was previously accepted. Much attention was paid to the preparatory stage of the production: reading the play, its analysis, multiple and dress rehearsals. The preparatory process also involved the education of the viewer: it was forbidden to walk around the hall during the action, enter after the third bell, or interrupt the action with applause.

Nemirovich paid great attention to the quality of dramaturgy in the repertoire. There was nothing random here, but there were no restrictions on style or theme. The first ten years in the repertoire could be traced in several directions:

• historical and everyday life (A. Tolstoy),

• intuitions and feelings (Chekhov),

• socio-political (Ibsen, Gorky),

• social and everyday (Hauptmann, L. Tolstoy),

• fantasy, symbolism (Ostrovsky, Maeterlinck).

The first was the play “Tsar Fyodor Ioannovich” by A. Tolstoy. The drama was in keeping with the stated goals of the new temple of Melpomene. Both directors drew inspiration from the tours of the Duke of Meiningen's troupe, from there they took the desire for historical authenticity, harmony in every element of the action, and careful design of crowd scenes. The production was successful, but Nemirovich said that the Moscow Art Theater was not born with this premiere, but much later, in a modest series of working days.

The following performances were announced in the repertoire:

• "Antigone" by Sophocles,

• "The Seagull" by Chekhov,

• "Hedda Gabler" by Ibsen,

• "The Merchant of Venice" by Shakespeare,

• "The Sunken Bell", "Hannele" by Hauptmann,

• Pisemsky’s “arbitrary people.”

It was “The Seagull” that marked the birth of a new stage venue. The premiere, which took place on December 17, 1898, was not noisy, the hall was half empty, but it was with this play that success began. This and others: “Uncle Vanya”, “Three Sisters”, “The Cherry Orchard” radically changed the dramatic art of the new century.

The Moscow Art Theater immediately became fashionable and beloved by the intelligentsia, who saw their ideals in its productions.

The role and significance of the Moscow Art Theater

The revolutionary ideas of Stanislavsky and Nemirovich were developed. By 1910, the director's theater was divided in two. The first is literary and psychological, separating the stage and the auditorium with an invisible wall. The second is with improvisation, similar in spirit to commedia dell'arte. At the same time, all kinds of performing arts of both directions existed; they mutually influenced and complemented each other.

Fifteen years since the significant meeting of Stanislavsky and Nemirovich-Danchenko:

• The Moscow Art Theater appeared, it developed its influence on the dramatic art of the early 20th century,
• a new creative profession of director was born,
• the author of the play has changed,
• the birth of a new profession helped the formation of the dramatic stage as an independent art,
• Directing, which grew out of the Moscow Art Theater experience, began to develop in different directions.

New theater directed by V.S. Meyerhold

After four seasons, Meyerhold, the leading actor of the troupe, will leave it, deciding to try himself in a new role as a director. First, he will create the “New Drama Partnership”, then he will try himself, working in a branch of the Moscow Art Theater. He will try to free himself from the excessive natural truth of the Meiningen school. His studio will become the embodiment of the idea of ​​conventional dramatic art.

The theory and practical implementation of symbolist theater was reflected in the work of Maeterlinck. Based on this and developing the idea of ​​static performance, Meyerhold, at the end of 1906, staged the play “Balaganchik” at Komissarzhevskaya’s in St. Petersburg. There is no literary source in the booth theater. According to the dramatic plan, the actor becomes the center of improvisational action. The action is based on a script - a series of dramatic situations, but not with specific characters, but with masked images without individual features, where the stage space and the objective world are conventional. The performers had to study the techniques of past eras in order to use the techniques of grotesque and farce in the game.

Russian directing of the Silver Age

He brought to the world five great directors on the world stage, each of whom left his own unique mark on art. M. Chekhov described them as follows:

• Konstantin Stanislavsky - with devotion to the truth of inner life,
• Vladimir Nemirovich-Danchenko - with precision of thinking, a sense of structure and integrity,
• Vsevolod Meyerhold - with a demonic imagination to see evil in everything,
• Evgeny Vakhtangov - with rich theatricality,
• Alexander Tairov - with a desire for beauty.

These directors expanded the boundaries of dramatic art, pointed out the possibility of choice in the creative method of creating a performance, and convinced that on stage everything is acceptable and everything is possible. And they themselves remained in Russian theatrical history as the great masters of Russian director's theater, becoming the founders of many, many subsequent trends and schools.

Directing is the organization and creative direction of a performance. The director organizes the entire process of creating a performance and directs this work. The basis of the director’s creative work on the play is his concept, that is, the result of thinking about the content and stage interpretation of the work that he has chosen for production. The main task that modern theater sets for the director is the creative organization of the holistic ideological and artistic unity of the performance. The director cannot and should not be a dictator, whose creative arbitrariness determines the face of the performance. The director concentrates the creative will of the entire team. He must be able to guess the potential hidden capabilities of the team. He, together with the author, is responsible for the ideological orientation of the performance, for the truthfulness, accuracy and depth of reflection of reality in it. Working with an actor is the biggest part of the director's work in creating a performance. First of all, the director ensures that the actors understand everything in the work they are performing. The director's task is to build his idea of ​​the performance. Carry out your interpretation of the author through acting. The functions of the director when creating a performance also include working with the set designer, organizing and preparing the process in the lighting workshop, and searching for musical material together with the composer. The director must have not only special knowledge, but also be a comprehensively educated person, have an “aesthetic sense” and taste. One of the main tasks of the director is to create on stage a harmonious composition of the performance, imbued with a single concept.

3. Stage sketch, composition method and work on it.

An etude is an independent search for an effective line of behavior in given (invented) circumstances. A stage sketch is an eventful, complete segment of the life of the character(s), created on the basis of the actor’s life experience and observations, processed by his creative imagination and presented or played, or shown in stage conditions. A stage sketch presupposes the presence of a director's plan aimed at realizing the ultimate goal. While working on a sketch, a series of events is determined and recorded, its “turning points” - the initial, central and main thing of the sketch is determined, as well as the goal of the character. The source or material for composing a sketch is the actor’s own event experience, his life event observations, the work of his creative imagination and consciousness, inspired by a super task - a certain idea, thought, theme that the actor or director wants to convey to the viewer with the help of a stage sketch. Any stage action can only be considered complete when it consists of 3 parts - beginning, middle and end, or preparation, event and ending." In the first stage - preparation - the proposed circumstances are organized, the figures of the heroes are arranged, their relationships are established, and the tempo rhythms are clarified. The second stage is the central part of the sketch. The most important event of the sketch takes place here. In the second part, there is a conflict between two interested parties, or one character struggles with the circumstances he finds himself in. The third stage shows the denouement of the struggle between the conflicting parties. The etude consolidates the actor’s initial skills in working on himself and leads to the next large section of the program, to work on the play and role. The sketch does not yet set the task of creating a typical character, of transforming into an image. Performers act on their own behalf, in life circumstances that are well known to them. The purpose of sketch work is not only to develop the professional qualities necessary for an actor, but it can have great educational value. Performers have to seriously think about the ideological content of their work. It is impossible to recognize as good a sketch that is technically executed impeccably, but does not contain any moral idea.

Today's teenagers dream of fame and recognition; they want to work in the film industry and create their own large-scale video projects. Many people, including girls, no longer dream of being actresses. They believe that there are many more opportunities in the director's field. Before choosing a department at a cultural institute or theater school, you need to get a clear idea of ​​who the director is.

Freedom of expression

Most often, independent young people who think creatively, love and know how to express themselves, and are not afraid to experiment, enter the directing department. It’s so tempting to be the ideological inspirer of a theatrical production, play, performance, short or full-length film. Many find themselves filming commercials and video clips. Who is the director?

Great responsibility

Essentially, this is the artistic director of a theatrical production or television project. He is responsible for organizing the process from beginning to end. It would be useful for young schoolchildren to learn that in addition to broad powers, the director is responsible for the success of the event. If young people love to express themselves and have a lot of creative ideas, this alone may not be enough for success in the professional field. Organizational and leadership skills are also required here. This is why there are so many unclaimed directors and failed projects.

Project concept, concept development, dramaturgy

Work on a project begins with defining the concept and design. People with script writing skills often combine the work of director and screenwriter. However, for the best results, outside help is needed. That is why, once the concept is determined, the search for a good playwright begins. It’s easier for people who have been working in the field of theater or cinema for several years: they have developed a sufficient number of connections. Young directors are distinguished by their creativity and informal approach. They often resort to the help of their classmates at the theater institute.

Art group

What does a director do after he has decided on a concept and selected a screenwriter who meets his requirements to collaborate with? Recruitment for the production team begins. For example, if this is a theatrical production, in addition to the approved actors, the presence of a costume designer, choreographer, assistants and their assistants, light and sound specialists, and make-up artists is required.

If the production requires it, then the masters responsible for the stunts will be involved in the work. For a grandiose play, one director is not enough, so the artistic director hires an assistant. Then the entire assembled group begins rehearsal activities, after which performances follow. So, we found out who a theater director is. Now let's talk about film and television projects.

Film and television

To some extent, theatrical productions seem easier to perform. Today's youth are increasingly attracted to profitable film projects. However, in order to realize your plan, you need to find producers, because these days few people shoot with an amateur camera using non-professional actors. In addition to creating a concept, the film director must think through the shooting scenes in detail and calculate the estimate. And only then, based on the available finances, the selection of a film crew begins.

Unknown but ambitious actors are invited to low-budget projects. If the project has influential sponsors and producers, the director can offer work to well-known, well-established performers. Having a big acting name in the project is almost a win-win step. Despite the fact that the sought-after artist will have to pay a high fee for his work, audience interest compensates for the costs with box office receipts. It is clear from everything that a film director is a fairly responsible profession that requires risk. It is known that not every project pays off at the box office.

Required qualities and skills

The work of a production director seems tempting, however, it requires maximum dedication from a professional. Sometimes filming lasts 18 hours a day. Therefore, the director on set must be able to do not only his own job. While requiring actors to execute a scene accurately, he must also possess a considerable amount of performance skill. In essence, this person is the link and holds in his hands the threads of process control. He must understand the intricacies of light, know winning angles, and partly be a costume designer.

This person is directly involved in the selection of decorations. He does not deprive himself of stunt tricks, visual and technical effects, and sound recording. If necessary, the chief director can intervene and correct certain movements. As you can see, this profession requires you to be a jack of all trades and understand all the intricacies of cinema. That is why only a few achieve wide recognition.

Group work

Staging work takes a lot of energy. What does a director do if crew members refuse to follow certain instructions? This work requires both the skills of an educational psychologist and an experienced leader. In order to interact with people, the project manager must have a strong will and the ability to defend his own point of view. The director can be compared to a puppeteer, holding all the threads of controlling the process in his hands. However, this activity is much more difficult and unpredictable, because instead of dolls, the director has people, each of whom has a bright personality.

Conclusion

The article will be useful to future applicants to theater educational institutions and their parents. You learned who the director is, what his powers and scope of activity are. Undoubtedly, the advantages of the profession include creative prospects, working with unique and interesting personalities, as well as recognition in case of success. There are also a lot of disadvantages: directing takes up almost all of your free time, you can’t discount protracted creative crises and lack of money if the project fails. One way or another, this profession is one of the most difficult. When making a decision, this must be taken into account.