PITFALLS IN DIRECTING
Adam Blatner

This small paper was first published as part of  my anthology, Psychodrama, Role-Playing and Action Methods. (Thetford, England: Author, 1970.–when my name was still “Howard Blatner”). This anthology was a precursor to my writing the first edition of  Acting-In (New York: Springer, 1973)..  I would be interested in your comments. I may revise and refine it in light of your comments.

1. Don't start conversation with director standing and protagonist sitting--either sit with him at base of stage (or on two chairs on stage) or, better, pull him up to standing position—easier to move towards setting up a scene.

2. Don't introduce suggestions with "if you want to..." (It is understood if the context of respect for the protagonist's freedom has been established.) If protagonist tends to explain the scene rather than visualize it, redirect his attention to looking at the furniture. Emphasize, "you are there now", rather than permitting to speak with a more distanced, "it was like this" tone.

3. Don't spend too much or too little time setting a scene. This depends on the feedback from protagonist on how involved he is, how clear the imagery of the scene is. If it seems too abstract, have him set it more concretely. As soon as the scene seem vivid, move on.

      Have protagonist put down cigarette. it inhibits the freedom for warming-up, touch, etc.

4. When scene set, don't remind protagonist of his audience with a sentence like, "We have an idea what it's like now;" rather, signal end of "scene-setting" with phrase like, "You're there," or, "Okay, he comes in." (Move right into action!)

5. It is better to err on side of being awkward than to attempt to be too smooth. If you're uncertain as to what the protagonist needs to do next, it is better to admit it than to try to cover it up with clever patter. The director may allow himself to be "helped" by the protagonist. An attempt to "push" onward may "lose" the protagonist and the sense of "where he is."

6. As soon as the auxiliary ego (also known as AE or auxiliary) is picked, try to get the AE into action! Don't let him stand passively on stage—even if it means role reversing and warming-up the auxiliary by the AE’s watching protagonist's portrayal of the role. (That is, the director says to the protagonist, “Show us how your [other role, father, friend, daughter] acted.”)

7. Don't allow the protagonist to sit alone at the sharing portion of a psychodrama, especially if it was an emotional scene. Sit next to him, take his hand or put your hand on his shoulder if you feel like it. Ask auxiliaries or others close to him to sit next to him.

8. Condense unnecessary parts--e.g., if it is a group scene, allow the shadowy figures to remain in the shadow (but this takes real art and sensitivity, for sometimes the shawdowy figure is the key! For example, in a psychodrama about a hostile-dependent relationship between mother and son,  the father who is pointedly not discussed may well be a key figure, and there may be a good deal of mixed feelings about that relationship.

9. If the auxiliary doesn't know how to move into a scene, instruct her to repeat the last line--or paraphrase it.

10. As the director, don't get stuck too much in the "double" role if you can help it! I've seen directors get caught up in the drama and play out their own conflicts. While a little sometimes moves the action along, too much doubling by the director encourages the director’s acting out of neurotic counter-transferences. If you are feeling really involved, admit it, ask someone else to direct; and he may allow you to double—but only with the protagonist's permission.

11. Whenever the anger is being expressed, keep. moving towards the unfulfilled needs and expectations which underlie the anger! Don't deal with the "hostility" without simultaneously dealing with the underlying "dependency". This is frequently forgotten as director, protagonist and audience get caught up in the partial dramatic abreaction of anger. They are being seduced by the cliche that "expression of feeling" is good. The value lies in the protagonist's growth of awareness of the mixed feelings within, rather than single expression of one part of the  feelings.

12. As a protagonist's role reverses, and if you feel he is caricaturizing the other's role (by being overly rigid, punitive, righteous, etc.) point this out.

13. Reinforce the "here-and-now-ness" of the scene by telling the protagonist to say, "I am...," whenever he slips into tie past tense of, “I was...."

14. The director can choose his auxiliary egos for many reasons --be aware of your reasons! Is it because the AE is someone who "needs"' to play the scene? Is it because he is likely to be able to
empathize with the role or the patient? Is it because he is trained and the scene demands a Limned auxiliary ?

Sometimes the protagonist may choose the A.E. because of rapport or because the group member reminds the protagonist of that role. Sometimes the A.E. may volunteer out of empathy or antipathy. All these choices may be valid at different times. Become aware of the intuitive "reasons" for each choice.

15. Emphasize the "freedom to say no" at the outset--although your manner of operation will communicate your "respect" or lact of it for the protagonist--more than any phrases. (Thus, the director must most of all develop that tricky balance of mutuality between directiveness and client-centered respect for the defenses and strengths-of the protagonist, his stage of warm-up, and his trust of you and the group.)

16. If the protagonist balks at a suggested scene or approach with "I can't," say, "I'll help...let's try it this way," (breaking it down further into the role-components or shifting directing slightly); or, "well, you're the investigator ... if you don't want to do the proposal scene, let's do the wedding scene--you choose."

17. Don't ask, "How are you feeling?" during the drama.

18. Don't sit as you attempt a warm-up.

19. Don't ask, fora self•presentation in most settings without any warm-up (occasionally useful in
some closed groups).

20. Don't allow analytical, intellectualized, criticisms from the group.

21. Don't manipulate a person into a psychodrama just so you can "put on a show". This need to have something dramatic happen is perhaps the greatest danger and fault of the practice of holding sessions open to the public. There are other advantages and disadvantages of this practice, but the director's need for "success" will often "lose" the "drama" of the protagonist.

22. Don't maintain any single scene too long. I have seen prolonged confrontations where the doubles did Trost of the talking (shouting), this became boring and un-therapeutic.

23. Never underestimate the strength of attachment-needs. I have seen several directors (perhaps partly because of their own marital or divorce difficulties), seem to push their protagonists towards divorce! They do this by emphasizing the negative (again the cliche'd press for "hostility") and ignoring the positive feelings. Also, they dramatize conflict through amplification into crude obscenities and "name calling". (Occasionally this is effective, but it is more often abuse and used to shock the audience and break -through defenses.) Thirdly, they emphasize individuation--which is always in conflict with marriage, if you think about it--but they elevate the process to a "duty to self"—thus subtly putting group pressure on the protagonist. The years shared together from a powerful bond--our job is to be neutral!!!

24. I prefer directors not to allow applause after a psychodrama.

25. Don't be afraid to shake hands with your potential protagonist in the pre-warm up phase.

26. If several potential protagonists have been inter viewed, either allow the  group to -choose or director may choose. If he does the latter, he-should gracefully and tactfully say a few words why, not to explain himself, but rather to avoid embarrassment to the others who were interviewed. I have seen directors abruptly choose one protagonist, and by this action imply the others' problems to be insignificant, petty, or otherwise unacceptable.

27. Don't overdo the warm-up of the auxiliary and thereby lose "tele" with the protagonist. Using role-reversal, help  set up A.E. accurately. ("Is this the way he acted?")

28. Don't push for the emotionally exciting themes (sex, anger, violence) for their own sake.

29. Don't try to "get a point across" by creating grossly artificial situations. Our job is not to show how clever we are but to provide Methods for exploration!

30. The director should rarely "confront" the protagonists-- i.e., act as if he were angry with the protagonist because of the protagonist's style of operating with others, unless the director himself has been in truth threatened or personally offended. Rather, allow the auxiliaries in role to do the confrontation. Otherwise, it breaks down the "proscenium arch"---the "as-if" context. If the protagonist comes to doubt his relationship with the director, the conflict then becomes so intense that he cannot profit therapeutically.

31. Maintain easy access between all group members and the stage. Maintain fairly clear stage boundaries. Feel free to dismiss A.E.'s doubles, etc., and crisply shift scenes. You are the director!