It's Mom's day today. I can only thank all those women who treated me as their son. Professionally, I look up to Ma'am Nikki as a Mom because she seem to be an eagle-like mom who taught us how to fly in the industry we are in. I did an article about directing and after reading it she went the extra mile to edit my piece. Was I offended? No, because that made me feel like a son, with a mother correcting my work in need totally of revisions. Here is the e-mail;
____________________________
Dear Paul,
Congratulations! This was a very interesting paper - the thought and work you put into it deserves an equal amount of thought in my response.
My comments and opinions in red. In spite of all the comments (you know me, I can be very, very straightforward) I truly enjoyed reading this, it certainly made my mind work. I think you have succeeded in getting at least one person to think, a triumph which not all writers can lay claim to.
Nikki
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In Search of A Stage Director
If this is meant as a feature article or an op-ed piece, then it is a very good one. However, if it is meant as an academic treatise then may I gently point out that you should first tell us who you are, what your background is and how many TV shows, movies and plays you watched in order to form these opinions. How many works of each genre and each director are you familiar with? In other words, even as an article, you should first set the stage, so to speak and give the conditions under which you speak. Perhaps it is just a matter or reorganizing what is essentially a very good paper.
Another question is what is your point/ Are you trying to extoll the virtues of theater over other forms of storytelling? Are you simply trying to define what a good director is? I suggest in the interest of clarity you put your thesis statement at the beginning and then again at the end of your piece.
There are three Filipino directors who for me towers above the rests. They are Joel Ruiz {for independent film [Mansion, Arkeofilms]}; Laurenti Dyogi {for Reality TV Shows [PBB, Pinoy Dream Academy , Pinoy Fear Factor]} ; and Chris Millado {for stage and Special Event [ Director of Performing Arts Division, CCP]}. These gentlemen embodies the traditional and modern characteristics of a movie, TV and stage directors. Essentially, my opinion is that in the interest of fairness, one should not compare film with television and with theater. These are three different forms with different demands. True, they have their basic similarities but their differences are just too glaring. Some of which I will discuss in this paper. My primordial reason in writing this is to present a thesis of unique Filipino Blend of Artistic Direction worth of our glimpse rather than concentrating on Mainstream Directors. If we were having coffee right now I would ask for your definitions of the following a) unique b) Filipino and c) mainstream I do not want to degrade and never will I say that mainstream directors are not good enough {direk Lauren is also a mainstream director [ABS CBN , And I Love You So]}. The thing is, I believe, it is high-time that Filipinos should widen their artistic values by watching more challenging visuals like Indie films, Reality Shows and Stage Plays.
Introduction
Many post modern critics Really? Who? projected that theatre arts is a vehicle that will soon decline and die. But recent studies shows that more and more people are still going to Arts and Studio Centers to watch live acting performances on stage.
I am more of a theater person than film. So I love watching stage play in all forms whether experimental, arena type or studios. Once, I talked to a couple, both friend of mine, and asked how they spend Saturdays together. The man answered that he likes dating with his fiance before or after watching a play. He use to do it so that they will have something to talk about throughout the meal. The girl nodded that she likes to watch a play now rather than go to movie houses.
The same is true to people who annually anticipates the Cinemalaya Festival. More and more people are getting tired of mainstream and traditional forms of video entertainment. Isn't video by definition a form of technology and therefore not really traditional? Reality Shows captured the hearts of viewers tired of cinematic traditions, soap operas and scripted TV series.
In fact, theatre arts did not die for the last nine years of the new millennium. Malls, Movies, Music bars, and Modern gadgets {four M's} did not stop the proliferation of Performing Arts. As Ma'am Nikki told us then it became an infectious disease to all college students as an avenue to express the identity of their generation (really, I said this? Thanks for remembering.). Which for me is true, Communication Arts 101 will remind us of the missions of mass media as a whole;
1. To inform and eventually educate the populace.
2. To entertain avid audiences so as to combat boredom and anxiety.
3. To solicit, mold, and frame public opinion for expansion of cultural identity.
4. To increase marketing domains through mediated sales, telemarketing, TV and Radio promotions, advertisements, and publicity. and;
5. To inspire/ to spread optimism/ to keep fire of hope alive and uplift spiritual plethora.
All of these are visibly true to theatre arts. And as long as stage plays fulfill these missions, it will remain a part of communications media as one of her vehicle.
More and more are interested to be apart of their college theater guilds. I am very thankful to theater for if not for her I will never establish self-reliance, leadership skills and networking strategies. Theatre people from Saint Benilde, from UPLB, form Lyceum and Teatro Tomasino. there was one shining position in theatre that we always want to be an apprentice during our college days.... that of the Director.
Who is a Stage Director?
I have to reconcile the identity of Greek standardized director and a contemporary directors of the Philippine theater. We certainly have to clarify the identity of a stage director so we can distinguish him from a film and TV director. My seven years of practicing where? again, be clear about your parameters taught me that there are five requisites to be met so that a director be very genuine on stage. A director must be a storyteller, a theater artist, a problem solver, a coach, and a leader.
Lack of these five will diminish the capacity of the stage director to prove himself different from a TV and film director. Be clear - this is your opinion. Some people would disagree with you. Let us examine each identities in a very concise manner.
1. Theater Artist---A director is first of all a thespian. A person who understands theater in a deeper sense than any other. He must be somebody who loves theater that much and be capable to creatively and resourcefully exhaust all potentialities in theater to produce the most aesthetic fruit possible. A person who assumes the role of a director and ignorant of theatrical systems is a contradiction, a lie. Ignorance of theater and stage facilities will destroy even the versatility of his actors. I agree completely. He must be able to identify the roles of his crew and the probable blocking necessary for the script.
2. Storyteller/ Communicator---A director is at all times a communicator. he must be able to relay a broad idea to his cast and crew. he must be keen in studying the script and how the audiences and theater goers will like it. He should prioritize how he will tell a story to the audiences. Hence, the director should communicate well. Clear in his ideas, the director can avoid ambiguity on stage rehearsals by dealing properly with actors and actresses. A director must possess a very audible voice and comprehensible diction to be heard and understood. Again, we are in agreement . No doubt, the three men mentioned above are men with beautiful voices. Direk Joel, Direk Lauren, and Sir Chris are all directors in posture, knowledge and personalities. Even their voices are evidences of their profession.
3. Problem Solver---An efficient director anticipates day to day problem in rehearsals. It is a fact of life. A production lives along with smiles and sufferings. However, a director can lighten the burdens of a production rehearsal by studying the weaknesses of his people. Theater problems are never more painful than to a director. That is why a director is courageous to cross the sea of adventures and be refined by enduring the fire of topsy-turvy pre-production weeks. A director loves challenges in his career and that is the only way he can grow in his craft. Yes!
4. Understanding Coach---One thing I have observed in my years in theater is that directors cannot escape being a teacher. He is always an instructor. A coach who can be relied by his actors when it comes to artistic improvement. A coach is always there to support, to guide, and to believe. It is our job to correct and encourage the actors. Again, communication plays a vital role in this process of coaching. I agree but some would disagree.
The actors should learn to listen to the director and vice versa. Once I start working with my actors, I always make it a point that they will learn basic essentials of my production method. I start with a workshop and special acting class. I always ensure tat a person learns something during our encounter. A failure on my part if I don't teach a dog new tricks. We are the coach of the production team.
5. Leader---the director stands as the executive artistic facilitator of any production on stage. His absence signifies ruin. Hence, organization is expected when there is a director. Directing is leading. To lead people means to be first in showing them direction. Without direction people scatters. Without a leader the world is astray. His mind becomes the first mind of all. His thinking never stops from the first day of rehearsal up to the TDR. The only difference of a stage director to a conductor {aside from spelling of course} is that he cannot be there on stage when his men perform. He is left alone after the TDR. A director should lead by heart, lead using his head, and lead thru his hands.
The Classic Dramatic Principles
Now I'd like to propose that each directors of stage, to be efficient, should always evaluate if they accomplish and exercise these ten stage directing principles.
1. The Value of Time. Never shall a director forget the fixed motion of theater timetable. Make tardiness a curse and learn to be professional by being on time. Always allow yourself to work in a company with ample time. If you finish everything at the right time you will never know how much comfort you can enjoy with more people who loves to be with you at the right time too.
2. The Success of Perseverance. Only perseverance can teach you not to give up easily. When you persevere you don't just teach yourself to be persistent, you teach the world that you are not cheap. When you already did your best and nothing happened, that is the only time you can quit. People who continue to work amidst the hardships of life are the only people worthy of success.
3. The Dignity of Labor. Remember, no work is too dirty that you will refuse it and no idleness is so clean that can take you to new heights. A director should give his people time to work and he himself should try t work even for a menial task. He is never entitled to degrade any crew or production aid. Try to ask the company utilities who is the director they love. They will remember the director who helped them arrange the chairs, wash dishes and segregate garbage. Funny but true.
4. The Worth of Character. Your character safeguards your leadership. There was a cliche that states "Leadership is the combination of strategy and character. But if you must be without one, be without strategy." It only shows that character is the labyrinth of leadership. Your good character builds the goodness or badness that your actors will witness. Look at the people who studied a lot in administration but are now in disastrous condition, they lacked character.
5. The Power of Kindness. I had a hard time balancing kindness and stiffness. Sometimes you really have to be strict. There are times you need to be a disciplinarian but kindness should outrun your despotism. Sir Chris Millado use to say that a director must "be loved" rather than "be feared" at all times.Iifyou are feared by actors, you will be able to get what you want but no amount of words can describe the resentment your robot-like men stored in their hearts. Be a kind director!
6. The Influence of Example. The only way for you to spread influence is by living it out. Example is the basic way we can teach implicitly. Teaching by example is easy and succinct. You are the model of your thespians. 70% of who they are and they will be on stage is of your making. You cannot force your principle t anyone, only when they find it in your example and learn the effectiveness of this concept will they apply it on their own.
7. The Wisdom of Economy. Living life simply, investment in people, continuity of production, and being goal oriented are signs of economizing in the life of a director. There is always in you a desire to create change and bring out the best. It is forever wise to save money and economize. As a director, you will always receive budget proposals from set designers, costume designers, props and make up artists. if you will spend all your coins while there are recyclable resources, you are wasting. There is wisdom in economy.
8. The Virtue of Patience. It is a fact in theater that there are slow learners in acting. People may not easily comprehend your mindset and you have to wait until stubborn actors relearn and unlearn bad habits they practiced in stage acting. Your creative team may accept your concepts as unclear no matter how succinct they may be. You need to wait the right time. My classmate Al, frequently reminds me when I am upset that ---Patience is a Virtue. I, starting then, tried to live up with that principle up to now and thanks to Al I never forget that Patience is a virtue.
9. The Improvement of Talent. Talent is your primordial asset. The sad truth is, talent is not enough. A person who is relying on talent alone is far from triumph. I tell you, your strength is composed of three elements; knowledge, skills, and talent. Talent is just an element of strength. Now, to be successful you need to have the four elements; strength, commitment, discipline, and divine assistance. How can Talent be equal to success when it just an element of strength which is only an element of success? That is fundamentals of logic. Improve your talent.
10. The Joy of Originating. I hate copy-cuts. Cats Paul not cutsWe must learn to make an original out of our craft. God created us individually as unique persons. We must have the responsibility to be original ourselves.
Introduction
Many post modern critics Really? Who? projected that theatre arts is a vehicle that will soon decline and die. But recent studies shows that more and more people are still going to Arts and Studio Centers to watch live acting performances on stage.
I am more of a theater person than film. So I love watching stage play in all forms whether experimental, arena type or studios. Once, I talked to a couple, both friend of mine, and asked how they spend Saturdays together. The man answered that he likes dating with his fiance before or after watching a play. He use to do it so that they will have something to talk about throughout the meal. The girl nodded that she likes to watch a play now rather than go to movie houses.
The same is true to people who annually anticipates the Cinemalaya Festival. More and more people are getting tired of mainstream and traditional forms of video entertainment. Isn't video by definition a form of technology and therefore not really traditional? Reality Shows captured the hearts of viewers tired of cinematic traditions, soap operas and scripted TV series.
In fact, theatre arts did not die for the last nine years of the new millennium. Malls, Movies, Music bars, and Modern gadgets {four M's} did not stop the proliferation of Performing Arts. As Ma'am Nikki told us then it became an infectious disease to all college students as an avenue to express the identity of their generation (really, I said this? Thanks for remembering.). Which for me is true, Communication Arts 101 will remind us of the missions of mass media as a whole;
1. To inform and eventually educate the populace.
2. To entertain avid audiences so as to combat boredom and anxiety.
3. To solicit, mold, and frame public opinion for expansion of cultural identity.
4. To increase marketing domains through mediated sales, telemarketing, TV and Radio promotions, advertisements, and publicity. and;
5. To inspire/ to spread optimism/ to keep fire of hope alive and uplift spiritual plethora.
All of these are visibly true to theatre arts. And as long as stage plays fulfill these missions, it will remain a part of communications media as one of her vehicle.
More and more are interested to be apart of their college theater guilds. I am very thankful to theater for if not for her I will never establish self-reliance, leadership skills and networking strategies. Theatre people from Saint Benilde, from UPLB, form Lyceum and Teatro Tomasino. there was one shining position in theatre that we always want to be an apprentice during our college days.... that of the Director.
Who is a Stage Director?
I have to reconcile the identity of Greek standardized director and a contemporary directors of the Philippine theater. We certainly have to clarify the identity of a stage director so we can distinguish him from a film and TV director. My seven years of practicing where? again, be clear about your parameters taught me that there are five requisites to be met so that a director be very genuine on stage. A director must be a storyteller, a theater artist, a problem solver, a coach, and a leader.
Lack of these five will diminish the capacity of the stage director to prove himself different from a TV and film director. Be clear - this is your opinion. Some people would disagree with you. Let us examine each identities in a very concise manner.
1. Theater Artist---A director is first of all a thespian. A person who understands theater in a deeper sense than any other. He must be somebody who loves theater that much and be capable to creatively and resourcefully exhaust all potentialities in theater to produce the most aesthetic fruit possible. A person who assumes the role of a director and ignorant of theatrical systems is a contradiction, a lie. Ignorance of theater and stage facilities will destroy even the versatility of his actors. I agree completely. He must be able to identify the roles of his crew and the probable blocking necessary for the script.
2. Storyteller/ Communicator---A director is at all times a communicator. he must be able to relay a broad idea to his cast and crew. he must be keen in studying the script and how the audiences and theater goers will like it. He should prioritize how he will tell a story to the audiences. Hence, the director should communicate well. Clear in his ideas, the director can avoid ambiguity on stage rehearsals by dealing properly with actors and actresses. A director must possess a very audible voice and comprehensible diction to be heard and understood. Again, we are in agreement . No doubt, the three men mentioned above are men with beautiful voices. Direk Joel, Direk Lauren, and Sir Chris are all directors in posture, knowledge and personalities. Even their voices are evidences of their profession.
3. Problem Solver---An efficient director anticipates day to day problem in rehearsals. It is a fact of life. A production lives along with smiles and sufferings. However, a director can lighten the burdens of a production rehearsal by studying the weaknesses of his people. Theater problems are never more painful than to a director. That is why a director is courageous to cross the sea of adventures and be refined by enduring the fire of topsy-turvy pre-production weeks. A director loves challenges in his career and that is the only way he can grow in his craft. Yes!
4. Understanding Coach---One thing I have observed in my years in theater is that directors cannot escape being a teacher. He is always an instructor. A coach who can be relied by his actors when it comes to artistic improvement. A coach is always there to support, to guide, and to believe. It is our job to correct and encourage the actors. Again, communication plays a vital role in this process of coaching. I agree but some would disagree.
The actors should learn to listen to the director and vice versa. Once I start working with my actors, I always make it a point that they will learn basic essentials of my production method. I start with a workshop and special acting class. I always ensure tat a person learns something during our encounter. A failure on my part if I don't teach a dog new tricks. We are the coach of the production team.
5. Leader---the director stands as the executive artistic facilitator of any production on stage. His absence signifies ruin. Hence, organization is expected when there is a director. Directing is leading. To lead people means to be first in showing them direction. Without direction people scatters. Without a leader the world is astray. His mind becomes the first mind of all. His thinking never stops from the first day of rehearsal up to the TDR. The only difference of a stage director to a conductor {aside from spelling of course} is that he cannot be there on stage when his men perform. He is left alone after the TDR. A director should lead by heart, lead using his head, and lead thru his hands.
The Classic Dramatic Principles
Now I'd like to propose that each directors of stage, to be efficient, should always evaluate if they accomplish and exercise these ten stage directing principles.
1. The Value of Time. Never shall a director forget the fixed motion of theater timetable. Make tardiness a curse and learn to be professional by being on time. Always allow yourself to work in a company with ample time. If you finish everything at the right time you will never know how much comfort you can enjoy with more people who loves to be with you at the right time too.
2. The Success of Perseverance. Only perseverance can teach you not to give up easily. When you persevere you don't just teach yourself to be persistent, you teach the world that you are not cheap. When you already did your best and nothing happened, that is the only time you can quit. People who continue to work amidst the hardships of life are the only people worthy of success.
3. The Dignity of Labor. Remember, no work is too dirty that you will refuse it and no idleness is so clean that can take you to new heights. A director should give his people time to work and he himself should try t work even for a menial task. He is never entitled to degrade any crew or production aid. Try to ask the company utilities who is the director they love. They will remember the director who helped them arrange the chairs, wash dishes and segregate garbage. Funny but true.
4. The Worth of Character. Your character safeguards your leadership. There was a cliche that states "Leadership is the combination of strategy and character. But if you must be without one, be without strategy." It only shows that character is the labyrinth of leadership. Your good character builds the goodness or badness that your actors will witness. Look at the people who studied a lot in administration but are now in disastrous condition, they lacked character.
5. The Power of Kindness. I had a hard time balancing kindness and stiffness. Sometimes you really have to be strict. There are times you need to be a disciplinarian but kindness should outrun your despotism. Sir Chris Millado use to say that a director must "be loved" rather than "be feared" at all times.Iifyou are feared by actors, you will be able to get what you want but no amount of words can describe the resentment your robot-like men stored in their hearts. Be a kind director!
6. The Influence of Example. The only way for you to spread influence is by living it out. Example is the basic way we can teach implicitly. Teaching by example is easy and succinct. You are the model of your thespians. 70% of who they are and they will be on stage is of your making. You cannot force your principle t anyone, only when they find it in your example and learn the effectiveness of this concept will they apply it on their own.
7. The Wisdom of Economy. Living life simply, investment in people, continuity of production, and being goal oriented are signs of economizing in the life of a director. There is always in you a desire to create change and bring out the best. It is forever wise to save money and economize. As a director, you will always receive budget proposals from set designers, costume designers, props and make up artists. if you will spend all your coins while there are recyclable resources, you are wasting. There is wisdom in economy.
8. The Virtue of Patience. It is a fact in theater that there are slow learners in acting. People may not easily comprehend your mindset and you have to wait until stubborn actors relearn and unlearn bad habits they practiced in stage acting. Your creative team may accept your concepts as unclear no matter how succinct they may be. You need to wait the right time. My classmate Al, frequently reminds me when I am upset that ---Patience is a Virtue. I, starting then, tried to live up with that principle up to now and thanks to Al I never forget that Patience is a virtue.
9. The Improvement of Talent. Talent is your primordial asset. The sad truth is, talent is not enough. A person who is relying on talent alone is far from triumph. I tell you, your strength is composed of three elements; knowledge, skills, and talent. Talent is just an element of strength. Now, to be successful you need to have the four elements; strength, commitment, discipline, and divine assistance. How can Talent be equal to success when it just an element of strength which is only an element of success? That is fundamentals of logic. Improve your talent.
10. The Joy of Originating. I hate copy-cuts. Cats Paul not cutsWe must learn to make an original out of our craft. God created us individually as unique persons. We must have the responsibility to be original ourselves.
____________________________________
So today Mom/ Ma'am Nikki, on your special day we want to join Ruth in greeting you a very Happy Mother's Day from the bottom of our hearts. Well I am sure I am not a brother of Ruth but still a son of yours. Stay as you are, a great Mom for Ruth and a wonderful inspiration for PAD practicumers.
Happy Mother's Day!
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