Grade by Grade
B. Drama / D. Visual Arts · Drama and Visual Arts

Drama: Staging with Blocking, Stage Areas and Setting

B1.2 B1.3 B2.2About 45 minutes
Learning goals
  • I can name the nine stage areas and use them to plan blocking.
  • I can read and interpret a script, including stage directions.
  • I can improvise with and adapt available materials to establish a setting.
  • I can plan and shape the direction of a drama with others, in and out of role.
  • I can explain how staging choices communicate meaning.

Words to know

stage areas
The nine parts of a stage, named from the actor's point of view when facing the audience: upstage right, upstage centre, upstage left, stage right, centre stage, stage left, downstage right, downstage centre, downstage left.
upstage / downstage
Upstage is the back of the stage, away from the audience. Downstage is the front, closest to the audience.
stage right / stage left
The actor's right and left when facing the audience. From the audience, stage right is on their left.
cross
To move from one place on stage to another. Written as X in a script (X DSL means cross to downstage left).
script
The written version of a play, with the characters' names, their dialogue and stage directions.
stage directions
Instructions in a script, usually in italics or brackets, telling actors where to move, what to do and how to say something.
readers' theatre
A form where performers read a script aloud expressively, usually holding the script, with little or no movement or costumes.
setting
The time and place of a drama.

Remember from Grade 6

You learned to establish a setting and keep the audience believing in it, and you used conventions such as role on the wall and mantle of the expert to shape a drama with others, in role and out of role.

In Grade 7 you will learn the language theatre people use to plan where actors move (stage areas and blocking), read and interpret scripts, and turn whatever is around you into a convincing setting.

"Go stage left!" Which way is that?

Imagine a director shouts, "Theo, cross downstage left!" If everyone guesses differently, actors bump into each other. Theatre has a shared map so everyone understands.

The secret: stage directions are named from the actor's point of view, standing on stage facing the audience. So stage right is the actor's right, which is the audience's left.

Upstage is the back and downstage is the front. Long ago, many stages sloped down toward the audience, so the back really was "up" the slope.

An empty school stage with a wooden floor and red curtains, seen from the audience seats.
Stage directions are named from the actor's view: stage left is the audience's right, and downstage is the part closest to the audience. AI-generated image
UpstageRight (UR)UpstageCentre (UC)UpstageLeft (UL)StageRight (SR)CentreStage (C)StageLeft (SL)DownstageRight (DR)DownstageCentre (DC)DownstageLeft (DL)AUDIENCE
A map of the nine stage areas, seen from above with the audience at the bottom. Back row (upstage), from the audience's left to right: Upstage Right (UR), Upstage Centre (UC), Upstage Left (UL). Middle row: Stage Right (SR), Centre Stage (C), Stage Left (SL). Front row (downstage): Downstage Right (DR), Downstage Centre (DC), Downstage Left (DL). Stage right is on the audience's left.

Why stage areas matter

Where you stand changes what the audience feels:

  • Downstage centre feels strong and close. The audience notices it first. Use it for big moments.
  • Upstage areas feel farther away. A character alone upstage can seem small or isolated.
  • Two characters far apart (one stage right, one stage left) suggest distance or conflict. Moving closer suggests connection.

Blocking notation

Directors and stage managers write blocking in short form so it's quick to record:

  • X = cross (move). X DSL = cross to downstage left.
  • Ent. = enter, Ex. = exit.
  • Stage areas are written as their letters: UR, UC, UL, SR, C, SL, DR, DC, DL.

Reading a script

A script has character names, dialogue (the words spoken) and stage directions (in italics or brackets). Stage directions tell you where to move and sometimes how to speak, but actors and directors still make many choices: pauses, tone of voice, facial expression.

Adapting available materials to establish setting

You don't need a fancy set. In drama we improvise with what's available:

  • Two rows of chairs become bleachers at the arena or seats on a school bus.
  • A blanket over a table becomes a tent or a hiding place.
  • A music stand plus a single lamp becomes the music room.
  • A table turned on its side becomes the lockers.

What matters most is that the actors believe in the setting and use it the same way every time.

Worked example

Example: Interpreting and blocking a short script

Here is a short script from "Shared." Read it, then let's plan the blocking.

The music room, the next day at lunch. A music stand UC. THEO sits on a chair SR, earbuds in. PRIYA enters SL.

PRIYA: Hey. You're actually here.

THEO: (not looking up) Ms. Kowalski asked me to bring back the songbook.

PRIYA: (X C) Everyone's saying you're quitting.

THEO: Everyone's saying a lot of things.

PRIYA: I didn't share it. I want you to know that.

THEO takes out one earbud. Pause.

THEO: I know.

  1. Setting: the music stand UC and one chair SR are enough to establish the music room.
  2. Starting positions: Theo SR, sitting (low and closed off). Priya enters SL, so the whole stage is between them: distance.
  3. Priya crosses to centre (X C): she moves closer, showing she wants to reconnect.
  4. "(not looking up)" is a stage direction about how to play the line: Theo is avoiding her.
  5. "Takes out one earbud" is a small action with big meaning: Theo is starting to let her in.
  6. Our added choice: on "I know," Theo looks at Priya for the first time. The script doesn't say this, but it fits the subtext. Directors and actors interpret scripts this way.

Stage areas and blocking turn a few lines into a visible story: distance, then a step closer, then a small sign of trust.

URUCULSRCSLDRDCDLAUDIENCEmusic standTTheo, sittingPX C (cross to centre)enters SLstagerightstage left
The blocking for the script, seen from above with the audience at the bottom. Theo (T) sits SR, Priya (P) enters SL and crosses to C, closing the distance between them. Remember: stage right is on the audience's left.
Worked example

Example: Shaping the drama together, in and out of role

The group decides what happens next in "Shared." They work both out of role (planning) and in role (testing ideas).

  1. Out of role: "What if Ms. Kowalski calls a class meeting about the video?" "What if Theo's grandmother comes to school?" Everyone suggests an idea; the group lists them all.
  2. Choose two to test. The group improvises both, in role, for two minutes each.
  3. Out of role again: "The class meeting gave us more perspectives, but the Mémère scene was more emotional." "Can we combine them? Mémère could speak at the meeting."
  4. Build on others' ideas: using "Yes, and..." instead of "No, but..." keeps ideas growing.
  5. Decide and plan the blocking: the class sits in a semicircle of chairs (adapting available materials); Mémère enters UL and slowly crosses DC to speak.

Moving between in role and out of role lets a group generate ideas, test them and choose the direction of the drama together.

Just for fun

Why do actors never get lost on stage?

They always know which way is upstage... even when stage right is on the audience's left.

Working as an ensemble

  • Everyone's ideas get heard before the group decides.
  • Try ideas in role before arguing about them out of role. Often the scene shows you what works.
  • Say "Yes, and..." to build on ideas.
  • Write your blocking in pencil: it will change in rehearsal!
  • Clear the space of tripping hazards before you move around.
Hands-on activity

Living-room theatre

You need: tape or string (or sticky notes), a few chairs, a blanket, household objects, paper and a pencil.

  1. Map your stage. In a clear space, use tape, string or sticky notes to mark the nine stage areas. Decide where the audience sits. Label each area (UR, UC, UL, SR, C, SL, DR, DC, DL).
  2. Stage area game: a family member calls out an area ("Downstage left!") and you move there as fast as you can. Then switch.
  3. Build a setting from what you have: choose a place from "Shared" (the music room, the arena bleachers, Theo's kitchen, the school bus). Use only things in the room.
  4. Block the script from the example: write the blocking notation in the margin of a copy (Ent. SL, X C, etc.).
  5. Perform it twice: once with Theo sitting SR and once with Theo standing DC. Ask your audience, "How did the meaning change?"
  6. Readers' theatre version: read the scene with scripts in hand, no movement. What do you need to do with your voice to make it work?
  7. Out of role, explain one blocking choice and why it communicates meaning.

Your turn

1

Which part of the stage is upstage: the front or the back?

2

An actor stands on stage facing the audience and walks to her right. Which way is she going?

3

What does X DSL mean in blocking notation?

4

Name the area in the exact middle of the stage.

5

What are stage directions?

6

How could you show a hockey arena using only chairs and a scarf?

7

Why does a character sitting alone upstage often seem isolated?

More practice: warm-up

1

What is downstage?

2

What does Ent. mean in a script?

3

From the audience's view, is stage left on their left or their right?

4

What is the written version of a play called?

5

In readers' theatre, what do performers usually hold?

More practice: on your own

1

Write blocking notation for: Maya enters from stage right, crosses to centre stage, then exits stage left.

2

In the example script, why does Theo start sitting instead of standing?

3

Name two choices actors make that a script usually doesn't tell them.

4

Describe how a group can shape a drama both in role and out of role.

5

Your group has only a table, a blanket and a flashlight. Establish a setting for a scene where Theo hides from everyone. Explain.

Challenge

1

Plan blocking for the moment Theo decides to sing at the talent show. Use at least three stage areas and explain how each move shows meaning.

2

Explain why stage right and left are named from the actor's point of view, not the audience's.

3

The same script is performed two ways: once with Priya and Theo standing close together DC, and once with them far apart (SR and SL). How does the meaning change?

Check your understanding

Quiz

1.

Stage right is ___.

2.

Downstage is ___.

3.

In blocking notation, X UC means ___.

4.

Which is a stage direction?

5.

Turning two rows of chairs into school bus seats is an example of ___.

6.

A strong spot for a big, important moment is often ___.

For parents and teachers

Big idea: Grade 7 drama includes improvising with and adapting available materials to establish setting and using blocking and stage areas (e.g., upstage right, downstage centre) in planning and performance (B1.2). Students plan and shape the direction of the drama with others, in and out of role (B1.3), and analyse how drama elements communicate meaning (B2.2). In Grades 7 and 8 the forms broaden to include interpreting and performing scripts and readers' theatre.

How to help:

  • Be the audience, and give feedback with stage words: "When you moved downstage, I paid more attention."
  • Play the stage area game: call out areas and have your child move there.
  • When watching a play or a filmed stage show, notice where actors stand at important moments.

Common difficulties:

  • Mixing up stage right and left. Remind them: stand on the stage, face the audience; your right hand points to stage right.
  • Following stage directions but ignoring subtext. Ask, "What is the character feeling here? How would that change your voice?"
  • Group disagreements. Encourage testing both ideas in role before deciding.

Safety: clear the floor of cords, toys and rugs that slip before moving around.