But in a strict sense, it is better to be a full-time director, because directors have their own artistic laws, and they should constantly study, study and accumulate in their own fields, and create excellent works of art for the audience to appreciate, so as to meet the aesthetic requirements of the audience as their responsibility. The specific duties of a radio drama director are as follows.
First, select a script.
Radio drama programs that are shaken out on the radio are mainly completed by people who are engaged in editing and directing. The first thing to record a radio drama program is to choose a script, which is the artistic basis of the radio drama creation collective. As directors, we should care about the ideological content of the script, whether the questions raised in the script are clear, whether the theme is profound, whether it has the significance of promoting the current real life, whether it can produce certain aesthetic pleasure for the audience and so on. In short, directors should choose those who have both positive ideological significance and relative.
A good script with "entertainment" function. Especially social contribution, but also meet the following three standards:
L content standard: is the theme of the script positive and realistic? Is it instructive? This standard is crucial.
Art standard: Radio drama is a drama played to the audience. What kind of drama does the audience welcome? When choosing a script, the director must carefully consider and study the audience's listening psychology to predict whether the script has artistic hearing and meets the audience's aesthetic requirements in appreciation.
3 technical standards: whether the script is suitable for broadcasting Many enthusiastic amateur screenwriters often put their works on the radio, hoping to broadcast them as radio dramas, but the scripts they write often lack the technical requirements unique to radio dramas. As a director, we should grasp this well, otherwise it will make recording difficult.
These three standards are indispensable. Therefore, when the director chooses the script, he should start from these three aspects. If the first two standards meet the requirements, but only some technical problems, the author can be invited to modify them according to the unique requirements of the radio drama, or the director can help the author modify them himself.
When choosing a script, we should also pay attention to another question, that is, whether the director himself is attracted by the selected script. The director must fully understand the significance of drama and be interested in it, so as to give himself interesting creative passion, stimulate his imagination and produce the vivid artistic conception of the director. However, it is incorrect to emphasize personal preferences independently. In practical work, it often happens that the editor selects a script, which is approved by the leader and you are appointed as the director, but this script is not your favorite. In this case, a director can't be picky about his works unless he can't reach his ability and really can't afford to play. What is the intention and purpose of the script determined by the leader? When reading a script, study its practical significance and artistic characteristics, and gradually cultivate your interest and emotion in the script, thus stimulating artistic imagination and creative enthusiasm. As long as the attitude is correct and the method is correct, the result will often get unexpected artistic effects.
Second, study the script.
The broadcast script used. The script is the foundation of a play, and it is the basis and foundation for all the staff involved in the play to create. Therefore, as the leader of the whole crew, we should fully and profoundly understand the ideological content of the script. The screenwriter is like the "designer" of a project, and the director is the "pattern" designed by the "designer" of the building, leading various art departments to complete the collective "project". Because the director's artistic outline is recreated on the basis of the real life described in the script, it is called "secondary creation". Having a broadcast manuscript does not mean having a play. Only through various artistic means can the content in the drama rate be recorded into playable programs with sound and images. Really completed the whole creative process of radio drama art. The work of various art departments, including directors, actors, music art and sound art, is called "second creation". The director should analyze the script well and tell it to the whole crew, so as to unify everyone's creative thinking, explain the ideological content of the script, analyze its practical significance, point out the nature of the script, determine the form of expression and clarify the basis of script creation. When interpreting the script, the director has no right to go beyond the scope of the script reflecting reality, nor to destroy the characters in the play. At the same time, the director must also analyze the script independently, concretely and truly. In other words, the director must directly study the reality, treat the characters and events in the play from the interests of socialism, and reveal the ideological content and the essence of the characters in the play, so as to develop, supplement, strengthen and determine the ideological and artistic nature of the play. The director's interpretation of the script must have his own creative intention, and everything can't be right and complete, which requires the collective wisdom and strength to enrich and enrich his own shortcomings. On the basis of promoting artistic democracy, the director's intention became a collective intention, and everyone's understanding was unified with the theme of the script, resulting in a relatively complete conceptual plan with unified form and style. This not only mobilized the enthusiasm of the whole crew, but also made everyone care about the ideological and artistic nature of the choreography, which was also of great benefit to the implementation of the director's conception plan. So the director's first unified explanation should be creative.
Third, guide the actors.
Radio drama is a sound art, and its performance is mainly performed by actors. Even the non-dialogue radio drama Revenge recorded by the British BBC was performed by 1 1 actors. A play with dialogue needs more performances by actors. When listening to a radio play, the audience understands the meaning of the play through the performance of the actors, and the director can also show his creation mainly through the performance of the actors. So the director's duty is to help guide the actors to understand and master their roles. The most important thing for an actor to act is truth. The so-called authenticity of acting is: performing correctly, reasonably and coherently under the situation stipulated in the script; Thoughts, feelings, actions and other aspects can be consistent with the role. To do this, the actor must try to master all the action processes (including psychological processes) of the characters in the play. As an actor, most people don't want the director to take the place of their own characters, but ask the director to help themselves. On the one hand, the director is a participant in the actor's creation; On the other hand, you can stand as a "bystander" and help actors create. Therefore, the director can be regarded as a mirror in the creation of actors. What should the director do to help the actors?
1 Help actors correctly understand the ideological meaning of scripts and characters. Generally speaking, actors seldom watch the whole play and only pay attention to their own roles, so it is difficult to correctly understand the content of the script and the meaning of the characters in the play.
2 Help to analyze the basic action lines of the role, shape the image of the role with sound and the way to embody the image.
Help actors choose the best microphone position and the best voice expression.
Without the director's participation in the creation of radio drama, it is impossible for any actor to do all of the above completely and completely at any time. Only when the director and the actor cooperate closely and create together can the trick be performed well. Actors are responsible for shaping their own roles, and directors are responsible for the whole performance.
Four, the provisions of the music sound
Radio plays rely on sound to express their contents. The director should not only help the expression of sound, but also help and guide the design work of musicians and sound workers. All designs should help to express the idea of the play. For music design, the director also has the responsibility to help and the right to ask for it. For example, how to use the songs, words and songs in the play to better express the role, how all the music can cooperate with the development of the whole plot, and how to play the role of music in these aspects. The requirements for sound workers are that the sound effects should be typical and true, and the historical background and atmosphere of the times should be accurate.
Screenwriters, directors and actors play a leading role in the recording process of radio drama, and the work of musicians, sound engineers, recording, copying and synthesis departments also plays an important role in a drama. On the one hand, the director helps all departments to play their due roles, on the other hand, he integrates all departments into a whole. The director's job is to organize the art of radio drama in a unified way. Therefore, the director is also the organizer of the collective comprehensive art, and the director's duties are simply the interpreter of the script, the mirror of the actor, the collective organizer and leader of the radio drama recording.
The director is the general representative of the audience.
The ultimate goal of recording a radio drama is to provide it for the radio station to play and the audience to enjoy. In the process of listening, the audience learned the lesson imperceptibly and enjoyed the beauty. When the play was recorded, the director was already listening on behalf of the audience. He wants to express the wishes of the audience, predict the impact of a play after it is broadcast, and make a comprehensive evaluation from the standpoint of the audience. Once unreasonable and discordant places are found, they must be revised or re-formulated. Many excellent scripts are the result of many revisions or remakes. Synthetic art is often the art of regret, but regret should be minimized. The artistic works presented to the audience should be of high quality, and the director is directly responsible for grasping this quality.
Six, the director of the actual task
In the process of recording a radio drama, the director is the most important, difficult and laborious. He must be responsible for the whole performance, and all artistic or artistic business work must be planned, approved and arranged by him. He must work with playwrights, actors and technicians. Because the success or failure of each department has a very close and inseparable relationship with his artistic creation.
The most complicated director's actual work is difficult to explain clearly in a few words, but it is still possible to talk about the director's actual work steps in concise language first.
1 the director first introduces the script to the actors and artistic creators, so that they can understand the script.
The director must thoroughly understand the playwright's creative intention in order to discover the connotation of the script, guide the actors and actresses how to give play to the ideas of the script and how to make up for the shortcomings of the script. A director and a playwright should be one.
Assist and guide actors to understand their roles and create their own roles. The director and the actor should be one.
4. Harmonize and unify the planning of actors, so that each can do his best, complement each other and make each other interesting. The director should tell the actors how much he performed, whether it was correct, how important he was in each scene, and whether his cooperation with other actors was appropriate.
Assist and guide the work of sound and music workers.
Every scene in the recording studio or real scene is recorded according to a predetermined plan and closely connected to become a complete material.
In the process of copying, the composer and sound worker use the whole language material to synthesize.
8. Set the hearing time, invite relevant leaders to attend, arrange leaders to approve the broadcast time of the play, release the program preview, and notify the scriptwriters and actors to attend. Write a content introduction draft and publish it in the newspaper for publicity, and send the remuneration of relevant personnel to provide services and other transactional work.
This is a very simple statement of the working procedure, and the actual work of the director is generally like this. All scripts are written in flat form. If the script is made into a radio drama program, so that the audience can have a sense of harmony in hearing and achieve aesthetic satisfaction, it must rely on the director's strength. The director's success is not in books, nor in the office. He wants to realize all his intentions in the conception of desk work, in the guidance of rehearsal field, in the grasp of recording studio and in the command of recording, synthesis and production. These works are all true and must not be careless. After the play was broadcast, he also looked forward to the audience's feedback, summed up experience and improved his working ability.
As the organizer, leader and director of a drama troupe, the director must have the due quality, including both internal and external aspects.
First, inner cultivation.
The director 1 should be a scholar and an artist.
There is no need to explain that he should be proficient in drama theory, because this is a necessary condition for a director, and the director of radio drama is no exception. The director should guide and decide the opinions and actions of others from the aspect of drama art, and only artists can guide artists. How can a director lead many artists and organizations to create a work of art collectively if he does not have more knowledge of drama art than others, especially in scriptwriting, performance, music and sound effects? Therefore, to be a director, you must be a scholar or an artist with high artistic accomplishment.
A director should understand philosophy and psychology.
Although the theme of the script is not always philosophical, the characters in the play are always philosophical, and perhaps there are some philosophical thoughts in the dialogue. Just as life is full of many philosophical phenomena, it is of great benefit for directors to know some philosophical theories. As for psychology, it is even more helpful to the director. Any script describes the normal or conflicting relationship between people and the environment and between people. If the director doesn't understand psychology, it is difficult to direct a play well. In addition, the psychology of the audience should also be understood and studied. Radio plays are made for the audience. Without understanding the psychology of the audience, the production of the play is tantamount to aimlessness. Therefore, it is very necessary to study the psychology of the audience. The director is the leader of the collective activities of the crew. If you can't deeply understand the feelings, thoughts, emotions, behaviors and the whole psychological activities of a person who participates in this collective activity, it will be difficult to play a leading role.
The director should study history and regional customs.
Directors often come into contact with scripts with different themes, and the performance in the scripts is absolutely inseparable from the author's description of the living environment and the background of the times. If the director is not familiar with the times and geographical environment described by the author and the thoughts, lives and customs of ordinary people, he can't express the spirit of the play. Because the director is based on the text of the script, and the purpose of describing the text is to turn it into a lively character. Therefore, the director must have the same in-depth understanding of everything described in the script as the author, even more extensive than the author's understanding, so that he can be competent as the director of the script and he can raise the value of the script to practical value. Therefore, the director should have considerable research on history, regional customs and so on. Otherwise, there will be many deviations or mistakes in the artistic treatment of the script. A simpler way is to let the director know the thoughts, life and customs of people in a certain era and region. How to acquire these knowledge literacy. We can look for it from the literary works or scripts produced in this era and this region, which are often more real than those obtained from history and geography books.
The director should be an emotional person.
The script created by a playwright must be the author's true feelings, which will arouse the audience's psychological expectations and make them feel unreasonable. Therefore, the author himself must be an extremely emotional person, and his inner feelings can be revealed. The director is the author's true feelings, fully revealing the author's feelings of truth, goodness and beauty, so that the audience can also be cultivated by truth, goodness and beauty and enjoy aesthetics. Because of the author's strong love for characters, he can overcome all difficulties in artistic creation. If an artist lacks rich emotions, he will never produce valuable works. The director should have rich emotions, otherwise he will not be able to reflect the true meaning of the play, nor will he have the patience, perseverance and perseverance to complete the comprehensive art.
A director should have a keen mind.
Not everyone can learn the ability that a director should have, because the job of directing is art rather than technology after all. In addition to constant efforts, he has to have a particularly sensitive mind. So the director's achievement depends on his richest imagination, because there are many situations that the director can't experience personally, so it depends on imagination. The creation of consciousness depends on imagination. No imagination, no creation. Especially the art of radio drama, can express everything. There is no doubt that the behavior, language and motivation of many characters in the play are not the result of imagination. If the director has a particularly sensitive mind, how can he lead the whole team to successfully complete this very difficult work? A director should have this talent, just as an actor should have a genius. If an actor is very talented, no matter how hard he works, he can't achieve the highest achievement. Naturally, talent alone can't reach the peak of art without long-term efforts. Only when the director has talent and keeps working hard (long-term training) can he become a real radio drama director.
The above is a simple description of the inner cultivation of people engaged in director work. Inner cultivation is an intangible artistic quality, which can only be possessed by long-term accumulation. In addition, as a director, you must also have lofty accomplishment in character. Treat people sincerely without hypocrisy, modesty and pride, and be fair and conscientious. With such a sincere and good attitude, actors and collaborators will naturally be loved and convinced, and things will be particularly convenient and smooth. These in turn involve the director's external cultivation.
Second, external culture.
In addition to the knowledge that a director must have, he must also add special qualities at work to become a good director and make the director's art reach its peak.
The director must work closely with the actors to finish the work. To make the work efficient, the most important thing is to have a good working attitude, which should be:
I am always in a good mood.
A director should have a clear plan and adequate preparation before working. At work, we should lead the whole team with vigorous spirit and work hard. Set an example and actively implement it according to the established goals. Rehearsal once must have results. Work 1 hour requires results of 1 hour. Don't be perfunctory, procrastinating, and let everyone spend unnecessary time asking questions.
2 Restrain emotions with reason.
The director should not have a sense of superiority when dealing with employees. Be tolerant, not afraid of trouble, not impatient, not angry and compassionate. For the performance of actors, start giving and teaching again, instead of giving orders. You can't pretend that you know everything, let alone think that everything is right, but you should study hard in work practice like all actors. Directing an actor's performance, you must not let the actor blindly accept orders, you must let the actor know what it is and why. Stimulate his inner activities and induce his creative ability. Avoid making actors shame or live props. If the director wants to finish the task smoothly, he must work patiently and use high-tech rationality to restrain the emotional outburst.
3 Have a strong will.
The director should never slack off, never lose heart, overcome all difficulties and successfully complete every work. The director is the leader of a play, and the final decision on all work must be made by the director. Therefore, when the staff asks you for instructions or how to do something, you must have a well-thought-out plan without any hesitation.
When you receive a script, first of all, there is a playwright's heart waiting for you to understand. Secondly, there are many dramatists with different lives and personalities waiting for you to study them one by one. And everyone in the play has a lot of dialogue and a lot of actions waiting for you to experience. You have to study some problems with the staff of various departments, and these are just before rehearsal. After that, you have to rehearse a dialogue, a dialogue, an action and a reflection. Actors can rest when there is no rehearsal task, while directors never have time to rest from beginning to end. The director's work is very hard.
It is easy to finish a job with temporary courage and impulse, but it is difficult to keep an ideal job for a long time and hard. Therefore, the director must have stronger will and greater perseverance, and lead all the cast members to consistently guard this budding seedling until it blooms and bears fruit.
Don't be proud of water.
A director is a person who has full responsibility in a team. He has the responsibility to make the playwright, actors, all staff and audience satisfied with the recorded plays. Therefore, when others contribute their best efforts and opinions to you, you can't completely refuse to accept them just because you feel that you are the last person to decide. You should use your best judgment to decide what to refuse. What should I accept? When others criticize, you should be calm, review with an open mind and find out your own mistakes. Failure is the mother of success, so you should try to make progress. Don't be complacent about the support of others. The more people praise you, the more you should be cautious and humbly ask for advice. If your grades are really good, you should be more open-minded and try to make progress. If you take it,
You will be conceited, angry when you are scolded, and you will not be forgiven by others. So that you will never hear the truth of others again.
Although the director is the leader of the crew, he is definitely not a dictator with supreme authority, nor is he a omnipotent person. It is necessary to establish the belief that the completion of a play depends on the cooperation of various departments. Directors should also be good at summing up practical experience and constantly improve the quality of their own radio drama production. There is no end to artistic creation. We can improve our level by absorbing opinions from all sides.
In short, in art, the director must lead all the cast members to do their jobs actively, modestly and constantly, and earnestly shoulder the responsibility of inspiration, supervision, guidance and synthesis.