Blocking a scene feels daunting until you realize it’s just deciding who moves where and why. Rather than trying to create something “interesting,” begin by reading the scene out loud and treat the space as an obstacle course of intentions. Who needs to leave, who needs to stay, who needs to control the space? These forces will often suggest the path. When movement serves the emotional dynamics, it’s less about creating some neat blocking and more about following a logic that arises from the moment.
Symmetrical staging is comfortable for new directors because it creates an order. It also results in a flat image. Life doesn’t play out in a symmetrical way. One person may need to linger by the window while another needs to circle behind a chair. There are diagonals and varying distances. Consider setting the scene so actors change positions during the action, rather than just before it begins. Even a simple step forward or sideways can suggest a shift in the content of the scene.
Practicing blocking is as simple as laying down some masking tape on a floor to suggest a wall or a piece of furniture. Select a brief scene and set starting positions for actors. Then run the scene while requiring at least one calculated change in position before the scene’s end. Notice how timing plays a role: moving too soon deflates moments, whereas moving at the height of the drama heightens the drama. Use the remainder of the time to notate the path an actor took, including any hesitation. This exercise develops both your sense of space as well as your sense of drama in a brief exercise.
When in doubt, give an actor a simple action to accomplish, like looking for a set of keys or making a sandwich. Giving an actor an action will always create a need to move. This action will also provide you with opportunities to find other moments of conflict or drama. One actor may need to step into the other’s path, or steal something away, or move to a new position to reclaim dominance. This simple action has layered the scene with movement without feeling arbitrary. If the action feels extraneous, it can be removed later. What it has shown you will remain.
Good blocking should be understandable even if you can’t hear what the actors are saying. Try watching the scene from across the room. If you can still sense who’s gaining the upper hand and who’s losing it, you’re on the right track. Eventually you will learn to anticipate how changing the distance between actors or shifting their orientation will shift the drama of the scene and will be able to sculpt the interaction more skillfully.