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Thinking Like a Director by Bloom, Michael. (Faber & Faber,2001) [Paperback]
"Based on nearly twenty years of directing and teaching experience, Thinking Like a Director is a practical handbook that aims to convey the experience of directing and the theatrical mindset that successful directors possess. More than a mere set of guidelines, Michael Bloom's book details a comprehensive technique that covers every stage of a production - from the director's first reading of the play through the final rehearsals. Bloom reveals that the key to directorial thinking is a dual-perspective vision, an ability to focus both on the characters' (internal) lives and on the structural (external) elements of a play. In this manner, all of the key elements for dramatic interpretation and working with actors are integrated into a single method. Bloom illustrates his techniques by utilizing one of America's most accessible and popular plays, The Glass Menagerie, as his primary touchstone." Concise and engaging, Michael Bloom's book is for anyone who has ever uttered the phrase, "But what I really want to do is direct."
Unknown Binding
First published October 17, 2001
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Displaying 1 - 15 of 15 reviews
November 9, 2015
Read this as I need o write an essay on directing a play and I am actually directing a play for one of my assessments. Some helpful points but a mostly boring book that didn't really excite me.
October 19, 2016
It is indeed practical and chock full of tips. Of course, a few sections are a little outdated (then-current climate of theater, for example) but those are minor things. It's a great refresher.
September 28, 2022
This book gives an in-depth guide on how to be an effective and successful director when working on a theatrical piece of work.
Chapter 1:
Reading and Researching:
• Reading the script and researching the background and original intention of the artist
• Analyzing each character and their purpose in the story
• Deciding which direction to take with the story
Chapter 2:
Interpreting the Action:
• Understanding what tone certain lines give and how they are useful in story progression
• Terminology
• Beat changes (single unit of action) in scenes help to break down long scenes into shorter, easier to remember segments
Chapter 3:
External Analysis Structure:
• How a scene builds up and how its developed
• Super objectives and events in the storyline
• Central conflicts in a play help to shape how characters act in the story, the importance of certain scenes, and how smaller conflicts make sense in the full picture.
• Archetypal patterns (archetype is a pattern that connects the people of the world across time and culture)
Chapter 4:
Relation to the Actors:
• One of the director’s jobs are to relieve fear from their actors because if an actor is afraid to push the boundaries or give a role their all, they will not have the best performance
• It is important for an actor to see failure as a learning opportunity and not be afraid of failure. As a director, is it important to relate to the emotions of your actors and reassure them that mistakes are okay.
• General praise is like food to an actor, complimenting them, no matter how small it is, boosts morale and makes the actor more enthusiastic to come on set and give their all to the character.
• When it comes to battles between actor and director, the author believes that it is “law” for the director to surrender and do whatever to accommodate the actor. I do not completely agree with this. To a certain extent, yes, a director should be able to step out of their ego and compromise for the greater good of the project. However, if an actor is being extremely difficult and confrontational, they can always be replaced because that negative energy can and will eventually lower the morale of all other participants.
Chapter 1:
Reading and Researching:
• Reading the script and researching the background and original intention of the artist
• Analyzing each character and their purpose in the story
• Deciding which direction to take with the story
Chapter 2:
Interpreting the Action:
• Understanding what tone certain lines give and how they are useful in story progression
• Terminology
• Beat changes (single unit of action) in scenes help to break down long scenes into shorter, easier to remember segments
Chapter 3:
External Analysis Structure:
• How a scene builds up and how its developed
• Super objectives and events in the storyline
• Central conflicts in a play help to shape how characters act in the story, the importance of certain scenes, and how smaller conflicts make sense in the full picture.
• Archetypal patterns (archetype is a pattern that connects the people of the world across time and culture)
Chapter 4:
Relation to the Actors:
• One of the director’s jobs are to relieve fear from their actors because if an actor is afraid to push the boundaries or give a role their all, they will not have the best performance
• It is important for an actor to see failure as a learning opportunity and not be afraid of failure. As a director, is it important to relate to the emotions of your actors and reassure them that mistakes are okay.
• General praise is like food to an actor, complimenting them, no matter how small it is, boosts morale and makes the actor more enthusiastic to come on set and give their all to the character.
• When it comes to battles between actor and director, the author believes that it is “law” for the director to surrender and do whatever to accommodate the actor. I do not completely agree with this. To a certain extent, yes, a director should be able to step out of their ego and compromise for the greater good of the project. However, if an actor is being extremely difficult and confrontational, they can always be replaced because that negative energy can and will eventually lower the morale of all other participants.
This entire review has been hidden because of spoilers.
February 4, 2019
Actual rating: 3.5 out of 5 stars
A few of the sections in this book weren't assigned for my Directing class, so I ended up skimming some parts. Still, this was a really informative piece that will definitely influence how I approach acting and directing from this point on. Bloom writes comprehensively and informatively, sharing his perspective on what works, how he views and respects the work of others, and the pitfalls of directors who attempt things with good intentions but end up falling short. While I wish more women in the field were mentioned, this was published in the early 2000's when women weren't nearly as acknowledged as they are now. There also were some parts where I lost some interest. But Bloom's influence is very apparent here, and I enjoyed reading his stories about directing and his examples applied to Tennessee Williams.
A few of the sections in this book weren't assigned for my Directing class, so I ended up skimming some parts. Still, this was a really informative piece that will definitely influence how I approach acting and directing from this point on. Bloom writes comprehensively and informatively, sharing his perspective on what works, how he views and respects the work of others, and the pitfalls of directors who attempt things with good intentions but end up falling short. While I wish more women in the field were mentioned, this was published in the early 2000's when women weren't nearly as acknowledged as they are now. There also were some parts where I lost some interest. But Bloom's influence is very apparent here, and I enjoyed reading his stories about directing and his examples applied to Tennessee Williams.
November 12, 2024
Bloom’s approach to the different facets of the directing process remind me a lot of one of my professors/directors/mentors, Rhett. I’m glad to have this book as I embark on my individual artistic journey, whether or not that includes directing, because I feel like I will have a piece of his voice to take with me. Bloom emphasizes the dignity and acknowledges the common shortcomings of every person and every part of a production: rehearsals, actors, designers, tech, run throughs, season selections, producers, and everything else. This book is full of great tips and advice, and has brought clarity to me in mg first directing class.
December 18, 2024
“As each new technology increases our solitude, as the difference between man and machine narrows, the theater remains that rare communal place where experience can be interpreted and evaluated, where compromised ethics can be questioned, and where play becomes as valuable and nourishing as a commodity or an ambition.
Thinking like a director means believing in theater’s ability to move human beings to see the world anew, if even for a moment.”
Thinking like a director means believing in theater’s ability to move human beings to see the world anew, if even for a moment.”
March 3, 2025
Great and readable handbook for directing. Gave me a lot of thoughts on how to get started and how to navigate the creative and practical aspects of the job alike. Also great content about characters, beats, and actions that really got me thinking from a playwriting perspective.
(PG rating)
(PG rating)
December 6, 2021
shaking crying throwing up
June 28, 2024
I really did enjoy this book! I’ve never read anything on directing before, so I don’t have much to compare it to but it made me excited to try directing and that’s good enough for me!
August 13, 2015
Boy I wish I could use half-stars, because this hovers between a 4 and 5. I'll save my fives for books I can unreservedly recommend, and I do have slight reservations on this. But not many ...
I'm really tempted at this point to say if I taught directing, this would be the book I would assign. It is clear-headed and practical and right in line with my existing thinking - it was nice to hear someone else using ideas and even phrases I use all the time. It's vital that directors learn they must have something to say with a play, a particular story to tell outside of "just do the play" and Bloom summarizes that as well as anyone I've read. It's not about "concept" and slapping a directorial stamp on a work, but about an "approach" that allows you to explore your vision of the play.
My only reservation is that I do think he delves too far into acting coaching. Perhaps this could be useful to someone coming from the complete outside of the theatre world (and working with similarly inexperienced actors), but I personally think that in delving that minutely into actors' work you can lose sight of the forest for the trees. Actors are there to do their job - explain the vision to them clearly and let them do what they do without micromanagement.
I'm really tempted at this point to say if I taught directing, this would be the book I would assign. It is clear-headed and practical and right in line with my existing thinking - it was nice to hear someone else using ideas and even phrases I use all the time. It's vital that directors learn they must have something to say with a play, a particular story to tell outside of "just do the play" and Bloom summarizes that as well as anyone I've read. It's not about "concept" and slapping a directorial stamp on a work, but about an "approach" that allows you to explore your vision of the play.
My only reservation is that I do think he delves too far into acting coaching. Perhaps this could be useful to someone coming from the complete outside of the theatre world (and working with similarly inexperienced actors), but I personally think that in delving that minutely into actors' work you can lose sight of the forest for the trees. Actors are there to do their job - explain the vision to them clearly and let them do what they do without micromanagement.
May 29, 2011
I give it three stars as a medium rating. I have no comparison, for I have not read other books on directing. This was the course text for my college directing class, which I will not be pursuing. The course and book were definitely a learning experience for the viewpoint from the director and will definitely help me communicate with them better in the future. This text seemed a little outdated and some of the ideas were a little too intense for my liking, but overall the book is a good introduction for the director. Does it explain everything? No - but it shouldn't. Some ideas you just have to learn by directing - and the book says that as well.
August 30, 2008
Reading this while directing a show myself provided a strange experience of putting what I was reading into practice. A good book for directors, actors, and writers looking for practical advice on theatrical storytelling.
July 15, 2014
The book did a very good job giving a detailed about the ins and outs of directing but for me it was a little excessive and dry.
July 14, 2014
Along with advice from colleagues, this book helped me transition from the role of an actor to the other side of the audition table.
December 29, 2016
My favourite book on theatre directing. Concise and accessible, I go back to it often and I always gain some insight.
Displaying 1 - 15 of 15 reviews