Contemporary issues for maintenance, curriculum, organization, and success for dance educators.
Since the invention of stage directions during the English middle ages, "up-stage-center" and "down-stage-right" have saved many actors and dancers from colliding on stage. But that's only if you know the directions! While dance (ballet) has fixed points of the room that carry over to the stage, traditional stage directions are a valuable tool for dancers to know in conjunction. The studio is the first place to introduce your students to correct stage directions and fixed room points and it's never too soon to start.
Stage directions have been handed down through centuries of actors, dancers, and directors and the original simplicity of the system has survived because it works. Performers have plenty to think about in terms of choreography, lines, entrances, etc. and the basic nature of stage directions, plus the fact they are so universally accepted, allows those in the spotlight to do their best. Besides being simple to learn and remember, stage directions make a director's job easier. Just having a common language between those on stage and those in support helps rehearsals run smoothly. It's a dialogue your dancers will be able to use and appreciate in any theatrical situation.
The basic stage directions may appear obvious to a seasoned performer, but those new to the concept may be confused. Stage-right could be either side of the stage if the dancer doesn't know the rules. The directions are stated in relationship to the dancer's right and left while on stage facing the audience. This means that only the director has to communicate in "backwards speak" as we call it in our studio. The instructor/director is usually facing the studio or stage and must remember to use directions that apply to the people on stage. As dance instructors, we get used to facing our students as we dance with them. It's a particularly important habit that helps maintain eye contact and keep students focused. Remember the first five year-old that asked you in class, "Miss Joy, why are saying 'right' when you are using your left?"
TERMINOLOGY: There are fifteen stage directions that apply to any stage. They refer to the stage as if it were divided into fifteen squares. There are six basic words used and these six words are compounded to note different areas.
Basic terms: (facing audience)
Stage right-area of the stage to the right
of the dancer
Stage left-area of the stage to the left of
the dancer
Downstage-toward the audience
Upstage-away from the audience
In-to the center of the stage
Out-any direction away from the center
Stage directions:
Downstage right (DR,) downstage-right-center (DRC,) downstage center (DC,) downstage-left-center (DLC,) downstage left (DL).
Stage right (SR,) right center (RC,) center (C,) left center(LC,) stage left (SL).
Upstage right (UR,) upstage-right-center (URC,) upstage center (UC,) upstage-left-center (ULC,) upstage left (UL).
GREAT MOVE! Make posters for the six basic areas of the stage and post them in your practice studio. Leave the posters up year round and use the terms when directing students in class so they are accustomed to them when they get on stage and hear them used.
FIXED POINTS OF THE PRACTICE ROOM OR STAGE: The Cecchetti (Italian) and Vaganova (Russian) ballet methods have assigned numbers to the walls and corners of the studio and stage.
Cecchetti numbers the corners then the walls in a counterclockwise direction. Begin with number one in the downstage-right corner and proceed numerically around the corners ("corner one, corner two, corner three, corner four). Corner one is equal to downstage-right, corner two is equal to downstage left, corner three is equal to upstage-left, and corner four is equal to upstage-right.
The walls of the Cecchetti studio begin with the number five facing the audience. Wall 5 is downstage, wall 6 is stage left, wall 7 is upstage, and wall 8 is stage right. Count Cecchetti fixed points moving left.
Vaganova starts in downstage-center with number one (facing the audience) and proceeds numerically and clockwise labeling the walls and corners respectively. Wall 1 is the audience, then move downstage-right to corner 2, stage right to wall 3, upstage right to corner 4, upstage center to wall 5, upstage left to corner 6, stage left to wall 7, and downstage left to corner 8. Count Vaganova fixed points moving right.
GREAT MOVE! Make posters for the numbers of the walls and corners according the method of ballet you follow. When giving instructions to the class, use the numbers to encourage everyone to memorize them at the same time they remember choreography.
Besides posters around the studio, you can use colored electrical tape and put abbreviations for stage areas and fixed points on the floor. Leave out the 'S' for stage when using abbreviations. For instance, downstage left is represented by 'DL.' So the whole floor isn't covered in letters and numerals, choose a few and leave on the floor for a month at a time.
When making your choreography notes, use the abbreviations and say them out loud as you teach the steps.
Print a diagram and hand out to students and post in the studio.
Play "The Director Says" with your classes to help them remember the terms and locations. It's played just like "Simon Says." Call out stage directions and tell students to move to the specific area, but only if you say, "The Director Says..." If you don't say it and students move, just like in "Simon," the student is out of the game. Add a dimension by saying, "The director says, skip downstage center." Substitute movements your students are familiar with. My sister adds a level to this game by making it a silent, movement only exercise. She makes flash cards for the directions and the movements (skip, hop, jump, jete`, etc.) She holds up a movement card in one hand and a stage direction card in the other hand. Students read and respond. This makes everybody a winner in the game of learning stage directions and fixed points. Isn't that one of the best reasons to teach the concepts to your students?
Joy Held is the author of Writer Wellness, A Writer's Path to Health and Creativity (2003) from New Leaf Books. She is a Registered Yoga Teacher-500 and teaches for Marietta College (OH), West Virginia University-Parkersburg, and in her private studio. Her family has owned and operated schools in WV for over 50 years. She can be contacted at yogajoy@charter.net.