Recording Blocking

[sam.henderson]

I was wondering what were peoples most popular way of recording Blocking. Here is some more explanation for each of the options;

 

Numbered Way; Put a number by the word in the script and on the opposite side put the Action/Movement/Ent/Exit

 

Prompt Cue Way; Draw a line from the place in the script to the opposite side of a page and write it there

 

Just write it on; Just write around the script

 

Other; Please Specify

 

I have to start recording blocking in rehearsals from Thursday and was wondering what way was the best

 

Cheers in Advance

 

Sam

[Rachel]

Personally, I like the numbered way. You can easily refer to bits of the script, and it keeps it neat. For actually cues I use the 2nd method - boxing off the cue word and drawing a line to the opposite page.

 

Also, if you're right-handed, have you considered having the script on the left-hand page and the blank blocking page on the right?

[Brian]

Also, if you're right-handed, have you considered having the script on the left-hand page and the blank blocking page on the right?

Neat idea, obvious really, but then the best ideas always are.

[peter]

I've been told a method for right handers which involves re-ordering your script back to front (page 99, page 98.... page2, page 1)

 

Then if you turn your pages left to right, you can record your blocking in the left hand column of the right hand page. Then when you re-arrange your script it will magically appear on the right hand column. Kinda hard to explain in words.

[sam.henderson]

Ok when you do it the numbered way do you split it up into colums or just write number and then action

 

E.G-

 

NUMBER--------ENTERANCE-----------EXIT-------------MOVEMENT---------------------

 

1 ----------------John DSL------------------------------------------------------------------

 

2----------------------------------------Amelia USRS--------------------------------------

 

3------------------------------------------------------------John X (Moves) CSL-----------

 

OR

 

Number--------Action-----------------------------------------------------------------------

 

1-----------------Bob Ent. DSR

 

2-----------------Sam X (Moves) CS

 

 

And while we are on the topic what abreviations do you use??

 

For instance I use;

 

ENT- Enterance

EXIT- Exit

X- Moves

 

any others?

 

Sam

[Rachel]

I found the 'right-handed' idea in a very useful book by Gail Pallin - 'Stage Management - The Essential Handbook' (ISBN 1-85459-734-5)

 

I wouldn't bother with columns other than one (or two) for cues and one for blocking.

 

As for other blocking methods, I'm a big fan of drawing minature stage plans using symbols and arrows to represent movements. It's good to combine the graphic and shorthand methods though (see Gail Pallin's book).

 

All of that said, I don't claim to be a DSM, so maybe someone who is can give you better advice!

[Tom]

'm a big fan of drawing minature stage plans using symbols and arrows to represent movements.

An extension of this idea is to draw (or reduce the down the plan) a small ground plan (about 3" or 4" square), photo copy it loads of times and have them to hand in rehearsals.

Then when you hit a complicated bit of blocking you can sketch movements / positions on that and stick it in the book.

 

Better still, have one at the top of every page and mark positions on it for a quick reference - saves having to look back to find out where somebody is meant to be.

[edark]

THE NUMBERED WAY - ALWAYS, WITHOUT FAIL!

 

The line to the text should be reserved for cues only - makes life a lot simpler and avoids mistales.

 

I also use small stage diagrams for complicated moves, or several character moves at the same time. great for dance numbers/choriography.

 

Create a mini basic stage plan and print lots of them out, cut them to size, then when you need one, just stick it in the book! (even better, if your really clever, print them out on sticky address labels)

 

REMEMBER... Always write in pencil. then if something changes, it can be rubbed out. I have seen a lot of people write different types of cues in different colour pens. it looks pretty to begin with, but you end up with lots of messy crossing outs.

 

I find the script on the left and the cues / blocking on the right much easier as you dont get the ring binder bits getting in the way!

 

I usually put 'key' at the front of my book, explaining all the blocking symbols. This ensures you never end up going crazy trying to figure out what the hell my little squiggles mean 3 weeks later!!!!

It also means that if you fall ill or have to drop out of a show, someone else can take over with ease.

 

Anyone agree?

[sam.henderson]

I usually put 'key' at the front of my book, explaining all the blocking symbols. This ensures you never end up going crazy trying to figure out what the hell my little squiggles mean 3 weeks later!!!!

It also means that if you fall ill or have to drop out of a show, someone else can take over with ease.

 

Anyone agree?

 

Deffinetly, I have always been told that The Production Book should be so well kept that if you were run over by a bus any SM/ DSM should beable to sit down and Do Pre/ Post Show Checks, Do the calls and cue the show just as well as you!

 

Sam

[Suzette]

I have always been told that The Production Book should be so well kept that if you were run over by a bus any SM/ DSM should beable to sit down and Do Pre/ Post Show Checks, Do the calls and cue the show just as well as you!

 

Which is why the prompt book should always travel in the truck with the scenery/costumes/props/lights etc, not with the DSM. If nothing arrives at the venue the chances are you won't need a prompt book to run a show... If the DSM doesn't arrive someone else can run the show.

[Jemma]

I have to admit to being a 3-column girl myself. I always try to have enough space to the left of the text in a play to write the actual Q's, and then on the blank page (RHS as I'm right handed) I have 3 columns. From left to right, these are for Q's / Standby's *, Props (where they enter or exit from & who with or get passed / left etc) and the third for blocking (with a photocopied mini-pic of the stage at the top of each page).

 

* i.e. what the Q actually does. The bit on the left only says S/BY LX Q 12 or LX Q 12 GO; the bit written in the column says what it does, e.g. snap to special on a character.

 

As has been said before, it's good to find a style which works for you, but which is easily picked up by others in the event of you being run over by a bus.

 

Depending on the director, it's sometimes also useful to write blocking on the small post-it notes so they can be easily moved around & save yourself a lot of rubbing out.

 

Good luck.