A Sense of Direction

A Sense of Direction
Sohrab Ardeshir

The visionary behind the film. The unsung hero of a dynamic stage production. The captain of the ship, who gently but firmly steers the actors through the stormy rehearsal process, helps minimise their insecurities, deals with their egos and vociferous opinions, and encourages them to give their best. The director.

When we see an enthralling performance, our usual comment is, “What a great actor”. How many of us ever think to credit that unseen director’s guiding hand?The director is the visionary. It is he who transforms the lifeless script into a living, breathing entity, guides the actors to serve his viewpoint, and finally presents the audience with a slice of his unique perception.

A good director has to virtually be superhuman. He has to come into the production well-prepared, with a good idea of what he wants. He has to be able to deal with actors of vastly differing emotional, intellectual and egotistical levels, and yet be able to reach each one of them. He has to know what buttons to push, to elicit the required performance.

He has to be able to listen. To encourage. To criticise constructively. He has to have the ability to communicate exactly what he wants. To be a source of great inspiration. To find ways to excite the actor.

He has to calm and comfort distraught actors, to pander to their fragile egos, yet hold them in check. To be a mother, father and psychiatrist. To ensure that they give more to the role than they ever know they could. And then some.

He has to simultaneously watch and nurture his overall vision, making sure it is staying on track.

All this, and still oversee the set design, costuming, lighting design and sound. And deal with the nitty-gritty of publicity, marketing, theatre bookings and other tedious business details.

And then, on opening night, to let go of the child. To allow the actors and other technicians to take over.

And yet keep his cool. Phew. A mammoth task.

I recently had the privilege of being a part of a unique theatrical experiment, Going Solo Living on the Edge. One evening, three different directors, eight actors, 12 monologues.

Three different directors with a vast amount of productions behind them: Rahul da Cunha, Anahita Oberoi and Vikram Kapadia. Each with a 35-minute time-slot. Three varying directorial styles, three different approaches, yet one cohesive evening.

I chose three questions to ask them:

What is it that excites you about direction?
RD: It is my form of creative expression. I enjoy watching my vision transform the page to the stage. I particularly enjoy plays which are from a realistic world, and are loose form-wise, which allow me my directorial freedom. Authors like Sam Shepard give the director every direction, and this tends to straitjacket me. I enjoy the works of A R Gurney and Peter Schaffor, who allow me to conceive the piece anyway I like. I also enjoy it when the author throws out a challenge to the director.

AU: Mobilising several people to make concrete my vision of the piece. I get a ‘high’ out of orchestrating an exchange of energy between different people-actors-characters. I love pulling a script apart, then putting it together again. Translating the words into a live form which the audience can experience. Using actors and my vision to create a living event. Shedding aspects of my preconceived vision, gaining new insights. A director is like an orchestra conductor.

VK: I got into direction by default. When I was acting, I found my directorial faculties constantly at work. To me its fun creating a piece, and you are the boss. I enjoy seeing my vision come alive. My viewpoint must be present. The ‘silent speech’ of direction is often louder than the spoken word of the actor. I enjoy taking a play and making it work in the context of today’s world around us.

What are the qualities essential to a director?
RD: Man-management. Getting along with people, knowing how to reach them, communicate with them. Not just actors, but the set and lighting designer, the costume person. All of them are experts in their field, but need direction. An inspirational director, not a tyrant, is needed. A director must do his homework, know the rules, and then forget them. He must allow for experimentation, and ensure a creative, secure environment for his actors.

AU: Patience, and grim determination! You need to be a virtual psychiatrist, and understand what your actors are going through. An innate sense of design is needed, for the actors on stage, the set, the costuming.

VK: A director needs to have a vision, a lot of patience, and be a manipulator of people. He must have leadership qualities, a distinct knowledge of acting, and have seen and observed life. He needs to empathise with his actors, yet be a barometer of what is happening, and see through actors’ fake moments and self-indulgence.

How do you deal with actors?
RD: I like to create a loose-structured environment, where the performers know their boundaries, but are free to experiment. I work on their strengths, and accept their limitations. My thrill comes from the rehearsal process, and watching the play and actor blossom. Just as I come prepared to the rehearsal, I like the actor to have done some homework and to bring to the table his input.

Luckily I have no desire to act. Wannabe actors make the worst directors. My thrill comes from the creative process, not from onstage performance.

AU: Kindly. I like them to experiment, to think for themselves I need their input. I’m open to suggestion, but I pull them in the direction of my vision. I don’t believe in intimidation at all. I like to create a safe environment. I’d rather they let themselves go and fall flat on their faces, than tread warily.

VK: I use all techniques and improvisations possible. I sometimes ‘con’ the actors I find any means to reach them. A director must treat each actor as an individual, and reach them in different ways the method is immaterial. A pre-requisite for me: the actor has to come to me in complete faith and submission. If that is there, then I don’t need to exercise my power over him.

And so, to all the directors in my past, a big thank you.

Without you, I would never have been up there.

PS: God Bless You, Pearl. This one is for you.

-- (sardeshir@yahoo.co.in)