© Drama Notebook www.dramanotebook.com pg.

1
 Stage Directions and Movement
Overview
Actors must learn the various quadrants of the stage and must learn
to move to those areas automatically when directed to do so. The
next three pages depict grids of the stage and have the areas clearly
marked. The first printout contains the full description of the stage area and the second, proper
abbreviations, and the third, a more advanced division of the stage.

Start by defining your stage space and then mark off the grid by laying down blue tape much
the same as a Tic Tac Toe design.

Downstage is the area closest to the audience. It is called downstage because in the very
early days of theatre, there weren’t raised seats, so the play itself took place on a sloped stage.
The stage was higher in the back than the front so that audience members could more easily
see the action. Today, even though the audience is usually on graduated platform seating, we
continue to call the area closest to the audience “downstage,” and the area furthest away,
“upstage.”

Stage Right and Stage Left are defined from the actors’ viewpoint, not the audience. If an
actor is standing onstage and the director tells him to move stage right, the actor will move to
his right. (There is another term House Right and House Left which refer to the audience’s
viewpoint.)

Here are some ways to help students learn to follow stage direction:

Stage Direction Olympics

Cut apart a sheet of the stage directions and put them in a hat. One at a time, actors must
pull a direction out of the hat and move quickly to that spot on the grid. All actors who are
successful stay upstage off the playing area. Others join the audience. After everyone has
had a chance, play a few more rounds with those upstage until there is a winner or until all
students are getting the stage directions correct every time.

Stage Direction “Director Says”

Played like Simon Says. If the stage area permits, divide the class in half and have one
group take the stage. Determine a caller, who will call out stage directions. This is a good
time to introduce the word cross which means “move from one place to another,” in
theatre terms. If the caller says, “Director says cross stage right,” players should move
stage right. If the caller says, “Cross stage right” and players move without “Director Says,”
they are out. Play until there is a winner and the winner gets to call the next game.
Variation-After most students seem to have gotten the hang of it, have them cross to
different areas of the stage as specific characters.

© Drama Notebook www.dramanotebook.com pg. 2

 Stage Directions

UPSTAGE UPSTAGE UPSTAGE

RIGHT CENTER LEFT

Wings Wings
CENTER CENTER CENTER
RIGHT STAGE LEFT

DOWNSTAGE DOWNSTAGE DOWNSTAGE

RIGHT CENTER LEFT

Apron-part of the stage that extends in front of the curtain

Audience

© Drama Notebook www.dramanotebook.com pg. 3

 Stage Directions-Abbreviated
C-Center
U-Up
D-Down
L-Left
R-Right

UR UC UL

CR C UL

DR DC DL

Audience

© Drama Notebook www.dramanotebook.com pg. 4

 Advanced Stage Directions-Abbreviated
C-Center
U-Up
D-Down
L-Left
R-Right

UR URC UC ULC UL

R RC C LC L

DR DRC DC DLC DL

Audience

© Drama Notebook www.dramanotebook.com pg. 5

 Stage Movement
Below are the basic principles of stage movement and activities for creating stage pictures. If
you are new to theatre, spending a few moments to learn these concepts will help you feel
more confident about teaching drama and putting on short pieces or plays with your group.

What is stage movement?

Stage movement, also called blocking, refers to the actors’ movements and positions onstage.
Many plays have written stage directions as part of the script, but if you are creating your own
show, or focusing on improvisation, you’ll want to be familiar with the basic terminology and
techniques.

How characters move and interact with others, or their environment, and where they are
positioned onstage convey the body language of theatre. Movement and creating stage pictures
can:

Help create the m eaning and m ood of the story

Highlight certain actors at appropriate m om ents
Show the natural tendencies and behavior of the characters

Individual actors become part of the whole of what’s happening

onstage. Their movements can:

Open space for others

Emphasize importance
Add force, power, and speed
Free players’ tension
Reveal feelings
Reinforce show’s rhythm
Portray relationship

Take a moment, and imagine these scenarios:

A press conference held on the steps of the courthouse

A new mother and her baby in a hospital room filled
with family members
A bride and groom saying their wedding vows

In these real-life instances, the focus falls naturally on the most important characters in the
scene. In theatre, you’ll want to recreate this effect by becoming mindful of positioning actors
according to where the focus should be at any given moment. This means that if you “freeze-
frame” your play at any point, the audience should be able to tell without dialogue, where the
focus is.

General guidelines about stage positions are on the next page, stage movement vocabulary
follows that, and pictures that give examples are on the following two pages.

© Drama Notebook www.dramanotebook.com pg. 6

 Stage Movement Guidelines
• Center Stage (CS) is strong.
• Down Stage Center (DSC) and Upstage Center (USC) are also strong, depending on
what else is happening onstage.
• The actor’s body is strongest when facing Down Stage (DS) squarely.
• Actors usually cross toward the objective point.
• Actors move in character.
• In general, actors cross (move) on their own lines.
• When two actors cross together, the speaker usually walks upstage and slightly in
advance of the other, turning head downstage to speak.
• When several enter in a group, the speaker enters first.
• Here are some “Don’ts” for groups of actors creating ‘stage pictures’: don’t stand in a
straight line; don’t bunch; don’t stand in a semicircle.
• To open an area for an important character, the actors should move smoothly.
• Movements onstage seem bigger, or carry more weight than the same movement
offstage.
• A character may address a part of his speech to a character across the stage, and then
walk toward him as he speaks.
• Relationship often dictates a cross.
• A player may drift, edge, walk, or ease into a place.
• Cross at the correct instant so that speech is completed exactly with movement.
Rehearse carefully to time all to the finish.
• A cross either before or after a line can emphasize it.
• When a character needs to turn, have them turn toward rather than away from the
audience, unless this involves a wide awkward turn.
• When sitting down, either turn and go to the chair or step back until its edge is against
the back of the knee.
• Backing a step or two toward an exit just before leaving shortens the distance to walk.
An actor may speak, turn, walk to the door and then finish his speech.
• Taking stage and giving stage should become second nature. The actor on whom
interest is centered usually - that is, moves into a more desirable position; others near
that spot give stage by backing away, or walking to another place.
• Before going onstage, have an actor assume his character and walk twenty paces before
reaching his stage entrance.” Practicing entrances is a classic acting technique that can
make actor’s entrances interesting and real.

© Drama Notebook www.dramanotebook.com pg. 7

 Stage Movement Vocabulary
Actor’s Neutral
Actor’s stance in which he/she is standing up straight, feet hip-width apart, arms hanging
loosely at sides, and chin up.

Blocking
Working out the movements of performers.

Business
Activities that actors do on stage while performing, such as knitting, cooking, eating, or
packing a suitcase. Also called stage business.

Cheat
When an actor plays toward the audience while conversing with another character. Also
called cheating out.

Cover
When an actor’s position onstage blocks the audience's view of a person or object.

Cross
Move from one area to another.

Dress the Stage

Balance the stage picture (where the actors are positioned in relation to one another).

Closed Turn
Turn one's back to the audience.

Cover
Block the audience's view of a person or object.

Entrance
Point or place where an actor comes in.

Exit
Point at which an actor leaves the stage.

Full Front
Face the audience straight on.

Give
Throw focus on an important character in the scene.

Gives Stage
When an actor withdraws to a less obvious position.

Levels
Platforms or body positions on stage of various heights.

© Drama Notebook www.dramanotebook.com pg. 8

 Mime
Non-speaking movements.

Movement
A particular manner or style of moving. In theatre, movement relates to non-verbal cues
that portray character.

Move Off/ Move On

Leave the stage ("Move off Right"). Enter the stage ("Move on from Up Left").

Open Turn
Turn towards the audience.

Open Up
Turn more fully towards the audience.

Pantomime
A scene or play without words; the actors use only action and gesture to express their
meaning.

Profile Left or Profile Right

Face completely to the left or right. Can also be stated in fractions ("Half profile left," "a
quarter profile right," etc.

Share
To assume a stage position of equal importance with another.

Stage Left
The left side of the stage as the actors look out toward the audience.

Stage Picture
This refers to where the actors stand in relation to each other during any given moment of a
play. Physical stance, proximity and groupings of characters serve to denote status of
different characters and point of focus in a scene.

Stage Right
The right side of the stage as the actors look out toward the audience.

Stealing the Scene

Taking audience attention away from the proper focal point in the play. Also called
upstaging.

Tableau
Stage pictures created by actors posing motionless.

Take Stage
Move to a more prominent position.

Upstage
Part of the stage that is farthest from the audience. Also, to steal attention away from the
focal point of a scene.

© Drama Notebook www.dramanotebook.com pg. 9

 Stage Pictures
A stage picture is a term used to describe where the actors are positioned in relation to each
other during any given moment of a play or piece. The idea is to keep the focus of the onstage
action in concert with what’s happening dramatically. This is primarily a director’s job, but well-
trained actors develop awareness of how they are contributing to the whole at any time. Below
are a few examples of stage pictures along with brief explanations.

You may wish to teach your group about stage pictures by experimenting with tableaus. In
groups of five/six, give students a situation, and ask that they come up with a frozen tableau
portraying that scene.

Examples:

Press conference of newly elected President

Police arrive on the scene and catch a murderer red-handed
Cocktail party in which all of the guests are vying for the attention of one celebrity guest

Here are some examples of what creates focus or draws attention onstage. You may wish to
demonstrate these with students onstage.

1. A character who is isolated. For example, one character is alone at one end of
the stage while the rest of the actors are relatively grouped at another area of the
stage. This can also mean that the character is on a different level. For example, one
character is kneeling while the rest are standing.

2. A character who is down stage or at a lower level. Usually, the audience

focuses on what is closer to them or on a lower level but this is not a hard and fast
rule.

3. Characters who have more light on them or colorful costumes. Technical

elements can heighten the focus on specific characters.

4. A character who is facing the audience. Standing square-on or facing full front
can evoke a feeling of intimacy with the character. This technique is used often in
asides, monologues or soliloquies.

5. A character who is being pointed at. When other characters point at a

character, it generally puts the focus on the person being pointed at.

6. A character who is moving, or moving in a different pattern from the other

characters. Different movement draws attention.

7. Characters who have stronger objectives. If a scene calls for one character to
pursue something strongly in a scene, he/she naturally draws more attention.

8. A character who upstages. ‘Upstaging’ refers to actors who steal attention away
from the true focus of the scene and this is to be avoided. Upstaging can happen if
an actor positions himself in such a way that the focus is on him, or makes any
movement or vocalization that pulls attention away from the main focus.

© Drama Notebook www.dramanotebook.com pg. 10

 Stage Pictures Game
This game can help young actors be aware of their position onstage in relation to the other cast
members, and the scene as a whole. Begin by showing the group a few photos of casts forming
strong stage pictures. You can find these easily on the internet.

Ask!
Where is the focus in this scene? Why?
Can you see every actor in this picture?
What do you think is happening in the story?
Are all of the actors ‘open’ to the audience?
Are any of the actors pulling attention away from the focus in the scene?
Which character(s) in this photo seem to be the most important in the moment?

Next, put a group of about eight players onstage at a time and secretly give them a scenario
with which to create a stage picture. Give the group about thirty seconds to decide which
characters they will each play and then to form a picture that tells a story.

Stage Picture Examples!

A judge sentences the defendant in a murder trial
A surprise party
Press conference on the steps of the courthouse
A wedding
A man is arrested in front of a crowd of strangers
Pirates make a man walk the plank
A beauty pageant winner is crowned
A husband and wife argue in front of their family
The prince finds snow white in her coffin, as the dwarfs look on
The school bully is confronted by a kid bigger than him
A group of friends find buried treasure
Zombies converge upon a man

After the group creates their picture, have the audience players guess what is happening in the
scene and give feedback.

Ask!
What do you think is happening in this picture?
Where is the focus?
Are there any players who are stealing the focus away from where it should be?
Are all of the actors open to the audience?
Have the actors used different levels of the playing space (upstage/downstage,
and varying body positions such as sitting or kneeling)?
What have they done successfully?
How could they improve this picture?

© Drama Notebook www.dramanotebook.com pg. 11

 Stage Picture Examples

In this scene, the focus is on the two actors in the middle. The actors on either side
serve the scene by taking profile stances and directing their attention upstage center.
If the actors on the side were upstage, or facing full front, this would detract
from the focal point of the scene.

Imagine that the actor in this scene had delivered his line seated from the couch while
the actress hovered upstage above him. He would have less power, and it wouldn’t
serve the scene nearly as well as the powerful position he has in this photo.

© Drama Notebook www.dramanotebook.com pg. 12

 In this scene, there are several actors onstage, but notice how even the upstage actors
are directing their attention to the downstage action. Remind your actors that even
when they are not delivering a speaking line, they are part of the scene, and that some
audience members will always be watching them and their reactions.

This scene is packed with action, yet still there is a focus. The director has placed the
main character center stage, and used different levels to achieve a strong stage picture.
Even the character on stilts adds to the power of the center stage character
by placing his attention on him.

© Drama Notebook www.dramanotebook.com pg. 13

More stage movement resources…

© Drama Notebook www.dramanotebook.com pg. 14