What Does “Blocking Yourself” Mean in Theater?
In theater, blocking refers to the planned movement and positioning of actors on stage. It is a crucial aspect of performance, ensuring that the actors are visible, engaged with the audience, and interacting effectively with other performers. However, there is a common mistake in acting known as “blocking yourself.” This occurs when an actor unintentionally obstructs their own performance, making it difficult for the audience to see, hear, or connect with them.
Blocking yourself can happen in various ways, from poor posture and bad positioning to improper use of props or failing to be aware of the space around you. Understanding what it means to block yourself—and how to avoid it—is essential for any actor aiming to deliver a compelling and professional performance.
Understanding “Blocking Yourself” in Theater
Blocking yourself happens when an actor’s movements, posture, or positioning on stage limit their visibility, emotional expression, or interaction with the audience and other actors. It often results in a weaker performance because the audience cannot fully engage with the actor’s emotions, expressions, or dialogue.
This mistake can occur due to:
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Lack of awareness of stage positioning
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Poor body language
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Standing in the wrong spot relative to other actors
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Misuse of props or costumes
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Turning away from the audience at key moments
To better understand how actors block themselves, let’s examine some common ways this happens and how to fix it.
1. Facing Away from the Audience
Problem:
One of the most common ways actors block themselves is by facing away from the audience while delivering important lines. If an actor turns their back to the audience, it becomes difficult for viewers to see facial expressions and hear dialogue clearly.
Example:
Imagine an actor playing Hamlet in Shakespeare’s famous soliloquy (“To be or not to be”) but delivering it while facing upstage (toward the back of the stage). The audience would struggle to connect with the emotions being expressed because they cannot see Hamlet’s face.
Solution:
Actors must be aware of their stage positioning and ensure that at least part of their body remains open to the audience. This is why actors often use cheating out, a technique where they angle their bodies slightly toward the audience even when speaking to another character.
2. Blocking Another Actor
Problem:
Sometimes an actor unintentionally stands in a way that obscures another performer from the audience’s view. This is especially problematic in ensemble scenes where every actor’s presence is important.
Example:
In a courtroom scene in Twelve Angry Men, if one juror stands directly in front of another while speaking, the audience will miss the second actor’s reactions, diminishing the scene’s impact.
Solution:
Directors use stage positioning techniques like levels and spacing to ensure every actor is visible. Actors should always be aware of where their scene partners are and adjust their movements accordingly.
3. Poor Use of Props or Costumes
Problem:
Props and costumes can be essential storytelling tools, but they can also become obstacles. If an actor holds a prop in front of their face or wears a hat that casts a shadow over their expressions, they are blocking themselves.
Example:
An actor playing a detective might hold a large newspaper while sitting on a bench. If they do not lower the paper while delivering lines, they effectively disappear behind the prop.
Solution:
Actors should practice with their props and costumes before performances to ensure they enhance rather than hinder the performance. Directors often adjust blocking to make sure important facial expressions and gestures remain visible.
4. Lack of Awareness of Stage Lighting
Problem:
Stage lighting is used to highlight actors and create mood. However, if an actor steps out of their designated light or stands in a shadowed area, they can block themselves from being fully seen.
Example:
A lead actor in a dramatic monologue might unintentionally step outside the spotlight, making it difficult for the audience to see their facial expressions.
Solution:
Actors must be aware of their light sources and use marks (often small pieces of tape on the stage floor) to guide their positioning. During technical rehearsals, actors should work with lighting designers to understand how to stay visible.
5. Weak or Closed-Off Body Language
Problem:
An actor’s body language is a key part of communication on stage. Slouching, crossing arms defensively, or turning inward can unintentionally block an actor’s performance by making them appear less expressive.
Example:
In A Streetcar Named Desire, if Blanche DuBois delivers her emotional monologue with her arms crossed and head down, the intensity of her emotions might not reach the audience.
Solution:
Actors should practice open body language and use their movements to express emotions rather than suppress them. Directors often encourage actors to “play outward,” ensuring their gestures and expressions remain visible.
6. Ignoring Sightlines
Problem:
Sightlines refer to the audience’s ability to see the actors clearly from different seating angles. If an actor moves into a position where part of the audience cannot see them, they are blocking themselves.
Example:
In a theater-in-the-round (where the audience sits on all sides of the stage), an actor who always faces only one side of the audience will block themselves from the rest of the theatergoers.
Solution:
Actors should adjust their movements to accommodate the entire audience. This can include rotating naturally during monologues or using diagonal positioning instead of standing straight toward one direction.
7. Overacting or Unnecessary Movements
Problem:
Sometimes actors block themselves by moving too much or using exaggerated gestures that distract from the performance. Too many movements can dilute the impact of a scene, making it difficult for the audience to focus on the key moments.
Example:
In a quiet, intimate scene in Romeo and Juliet, if Juliet paces around excessively while speaking to Romeo, the audience may miss the emotional depth of her words.
Solution:
Actors should learn to balance movement with stillness. Every action on stage should serve a purpose rather than being random or distracting.
How Directors Help Actors Avoid Blocking Themselves
Directors play a crucial role in ensuring actors do not block themselves. Some common strategies include:
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Blocking rehearsals – Planning stage movement in advance
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Video playback – Reviewing performances to identify blocking issues
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Use of mirrors – Allowing actors to see their positioning
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Providing feedback – Helping actors adjust their posture, movement, and positioning
Experienced actors also develop their own awareness to ensure they remain visible and connected to their audience at all times.
Conclusion: Mastering Stage Awareness
Blocking yourself in theater is a common mistake, but with training and awareness, actors can avoid it. By maintaining open posture, being mindful of positioning, and using props and lighting effectively, performers can ensure their acting remains powerful and engaging.
Great actors master the art of stage presence, ensuring that every movement, facial expression, and word is fully visible and impactful for the audience. The best performances come from those who understand the space they are in and use it to their advantage—without blocking themselves in the process.
So, the next time you step onto the stage, remember: the audience wants to see you. Make sure they can.
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