6.2 Blocking and movement

Blocking and movement are crucial elements in playwriting that bring scripts to life on stage. They help create visually engaging performances, enhancing storytelling and emotional impact. Effective blocking can convey subtext, reveal character relationships, and establish the overall tone of a scene.

Playwrights use various techniques to notate blocking, including shorthand abbreviations and diagrams. Different types of stage movement, such as crossing, gestures, and prop interactions, are employed to create dynamic scenes. Blocking also plays a vital role in pacing, characterization, and stage composition.

Importance of blocking and movement

• Blocking and movement are essential elements of playwriting that bring the script to life on stage
• Effective blocking helps to create a visually engaging and dynamic performance that enhances the storytelling and emotional impact of the play
• Blocking and movement can convey subtext, reveal character relationships, and establish the overall tone and atmosphere of a scene

Blocking notation techniques

Shorthand for blocking notation

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Top images from around the web for Shorthand for blocking notation

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  Frontiers | Movement Notation Revisited: Syntax of the Common Morphokinetic Alphabet (CMA) System View original

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  Guide to Notation Shorthand – Foundations of Aural Skills View original

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  Frontiers | Movement Notation Revisited: Syntax of the Common Morphokinetic Alphabet (CMA) System View original

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  Frontiers | Movement Notation Revisited: Syntax of the Common Morphokinetic Alphabet (CMA) System View original

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• Use abbreviations for common stage directions (DR for downstage right, X for cross, etc.)
• Assign letters or numbers to specific areas of the stage for quick reference
• Utilize symbols to indicate specific actions or gestures (e.g., ^ for standing up, _ for sitting down)
• Develop a consistent system for noting entrances, exits, and scene transitions

Diagrams for blocking notation

• Create bird's-eye view diagrams of the stage to map out actor movements and positions
• Use arrows to indicate the direction and path of movement
• Include key set pieces, furniture, and prop locations in the diagram
• Color-code or use different line styles to distinguish between characters or types of movement

Types of stage movement

Crossing the stage

• Actors move from one side of the stage to the other, often to enter or exit a scene
• Crosses can be used to create visual interest, shift focus, or signal a change in the scene or conversation
• Diagonal crosses are generally more dynamic and engaging than straight crosses

Gestures and body language

• Incorporate specific gestures and body language to convey a character's emotions, intentions, or personality
• Use hand movements, facial expressions, and posture to enhance dialogue and create subtext
• Ensure gestures are motivated by the character's objectives and consistent with their overall physicality

Interaction with set and props

• Blocking should take into account the placement and use of set pieces and props
• Characters can interact with furniture, doors, windows, and other elements to create a sense of realism and establish the environment
• Prop handling can reveal character traits, relationships, and emotional states (e.g., nervously fidgeting with a pen, tenderly holding a cherished object)

Blocking and pacing

Varying movement speed

• Alternate between quick, energetic movements and slower, more deliberate actions to create a sense of pacing and rhythm
• Use changes in movement speed to reflect shifts in emotion, urgency, or tension within a scene
• Coordinate the tempo of movement with the delivery of dialogue to enhance the overall flow of the performance

Pauses and stillness

• Incorporate moments of stillness and pause to allow for reflection, heighten anticipation, or create dramatic tension
• Use strategic pauses to punctuate important moments, allow for audience reactions, or give actors time to transition between emotional states
• Contrast periods of stillness with bursts of movement to create a sense of dynamism and keep the audience engaged

Transitions between scenes

• Use blocking and movement to smoothly transition between scenes or locations
• Incorporate choreographed set changes, lighting shifts, or actor movements to create a seamless flow from one scene to the next
• Utilize crossfades, blackouts, or other staging techniques to signify the passage of time or change in setting

Blocking and characterization

Conveying character through movement

• Use a character's physicality, posture, and movement patterns to reveal their personality, background, and emotional state
• Develop distinct movement styles for each character to help differentiate them and make them memorable to the audience
• Ensure that a character's movements are consistent with their established traits and evolve as the character develops throughout the play

Status and power dynamics

• Use blocking to convey the status and power relationships between characters
• Position characters in higher or lower positions on stage to reflect their relative dominance or submission
• Utilize proximity, physical touch, and spatial relationships to communicate the nature of character interactions (e.g., characters who are close allies may stand nearer to each other, while adversaries may keep a greater distance)

Character relationships and proximity

• Blocking can be used to reveal the closeness, tension, or emotional distance between characters
• Position characters in close proximity to suggest intimacy, familiarity, or shared goals
• Create physical barriers or distance between characters to convey conflict, secrets, or emotional isolation
• Use blocking to show how character relationships evolve over the course of the play, with changes in proximity and physical interaction reflecting shifts in their emotional connection

Blocking and stage composition

Balance and symmetry

• Create visually balanced stage pictures by considering the arrangement of actors and set pieces
• Use symmetrical blocking for formal, ritualistic, or harmonious scenes, with characters positioned evenly on either side of the stage
• Employ asymmetrical blocking to create a sense of imbalance, tension, or chaos, with characters clustered or isolated in different areas of the stage

Depth and levels

• Utilize the depth of the stage to create a sense of three-dimensionality and visual interest
• Position characters and set pieces at different depths to suggest distance, separation, or hierarchy
• Incorporate levels (e.g., platforms, stairs, balconies) to add variety and create a sense of vertical space
• Use blocking to guide the audience's focus, with characters positioned at different depths or levels to direct attention to key moments or interactions

Sight lines and audience perspective

• Consider the audience's view when blocking scenes, ensuring that important actions and facial expressions are visible from all seats
• Avoid blocking that obstructs the audience's view of key moments or characters
• Use diagonal blocking and staggered positioning to create clear sight lines and maintain visual interest
• Adapt blocking to different stage configurations (e.g., proscenium, thrust, arena) to ensure optimal audience engagement

Collaboration with actors and directors

Incorporating actor input

• Encourage actors to contribute ideas and insights during the blocking process, as they have a deep understanding of their characters' motivations and relationships
• Be open to adapting blocking based on actors' natural instincts and physical capabilities
• Foster a collaborative environment where actors feel empowered to experiment and explore different blocking options during rehearsals

Adapting to director's vision

• Work closely with the director to ensure that the blocking aligns with their overall vision for the production
• Be receptive to the director's feedback and suggestions for refining or modifying blocking choices
• Communicate openly with the director about any concerns or challenges related to blocking, and be willing to find creative solutions together

Revisions during rehearsal process

• Expect blocking to evolve and change throughout the rehearsal process as actors become more comfortable with their characters and the script
• Be prepared to make adjustments and refinements to blocking based on the needs of the actors, the director's insights, or the practical limitations of the stage and set
• Embrace the iterative nature of the rehearsal process, using each run-through as an opportunity to fine-tune and enhance the blocking for optimal storytelling and emotional impact

Blocking and technical elements

Lighting and blocking coordination

• Collaborate with the lighting designer to ensure that blocking takes advantage of key lighting moments and enhances the overall visual aesthetic of the production
• Consider how blocking can be used to create dynamic shadows, silhouettes, or focal points that are enhanced by the lighting design
• Adapt blocking to accommodate any practical lighting considerations, such as the placement of lighting instruments or the need for actors to be visible in certain areas of the stage

Sound cues and movement

• Coordinate blocking with sound cues, such as music, sound effects, or voiceovers, to create a cohesive and immersive experience for the audience
• Use blocking to emphasize or complement key sound moments, such as choreographing movement to coincide with a dramatic musical crescendo or a startling sound effect
• Ensure that blocking allows for the practical execution of sound cues, such as giving actors time to move to a specific location before a sound cue is triggered

Costume and prop considerations

• Take into account the practicalities of costumes and props when developing blocking, ensuring that actors have sufficient time and space to make any necessary costume changes or prop handoffs
• Consider how costumes may affect an actor's movement or posture, and adapt blocking accordingly (e.g., a character in a restrictive corset may move differently than one in loose, flowing garments)
• Incorporate the use of props into blocking, ensuring that they are easily accessible and integrated into the characters' movements and interactions

Common blocking mistakes to avoid

Unmotivated or excessive movement

• Avoid blocking that feels arbitrary or lacks a clear purpose, as this can distract from the storytelling and confuse the audience
• Be selective in the use of movement, ensuring that each cross, gesture, or action is motivated by the character's objectives and the needs of the scene
• Resist the temptation to add movement for the sake of keeping the stage visually busy, as stillness and pauses can be just as effective in creating dramatic tension and allowing for character development

Masking and upstaging

• Be mindful of blocking that inadvertently masks or obscures other actors, particularly during key moments or dialogue
• Avoid upstaging, which occurs when an actor's movement or position draws attention away from the main action or speaker
• Use blocking to create clear focal points and ensure that the audience's attention is directed where it needs to be at any given moment

Inconsistency and continuity errors

• Ensure that blocking remains consistent throughout a scene or the entire play, avoiding unintentional changes in position or movement that can confuse the audience
• Keep track of prop and costume placement during blocking, ensuring that any items moved or altered during a scene are reset for consistency in subsequent scenes
• Maintain continuity in characters' physical positioning and proximity to one another, particularly in scenes that are meant to take place in a continuous timeframe

Blocking and genre conventions

Realism vs. stylization

• Adapt blocking to suit the specific genre and style of the play, whether it be realistic or more stylized and abstract
• For realistic plays, use blocking that feels natural and true to life, with characters moving and interacting in ways that are consistent with their everyday behavior and relationships
• In more stylized plays, blocking can be exaggerated, choreographed, or symbolic, reflecting the heightened or non-realistic nature of the world being presented on stage

Comedy vs. drama

• Tailor blocking to the specific tone and genre of the play, whether it be comedic or dramatic
• For comedic plays, use blocking that emphasizes physical humor, sight gags, and character quirks, with exaggerated movements and reactions that heighten the comedic effect
• In dramatic plays, blocking should serve to underscore the emotional intensity and psychological depth of the characters and their relationships, with more subtle and nuanced movements that reflect the internal struggles and conflicts at play

Monologues and soliloquies

• Develop blocking for monologues and soliloquies that allows the actor to connect with the audience and create a sense of intimacy and vulnerability
• Use movement and positioning to reflect the character's emotional journey throughout the monologue, with changes in posture, gestures, and spatial relationship to the audience mirroring the shifts in the character's thoughts and feelings
• Consider the use of levels, depth, and proximity to the audience to create a sense of connection and engagement during monologues and soliloquies, drawing the audience into the character's inner world and creating a powerful, memorable moment on stage