Theatre technique is part of the playwright's creative writing of drama, as a kind of mimesis rather than mere illusion or imitation of life, in that he is able to present a reality to the audience that is different, yet recognizable to that which they usually identify with in their everyday lives.
Another aspect of this is that of creating the kind of dialogue that makes his characters come alive and allows for their development in the course of his dramatization.
His art also consists in his ability to convey to the audience the ideas that give essence to the drama within the frame of its structure. Finally, his feeling for the natural divisions of a play such as acts, scenes, and changes of place, its entries and exits, and the positioning of the cast are integral to his technique.
One of the playwright’s functions is that concerned with adaptations of existing traditional drama, such as Charles Marowitz’s collages of Hamlet and Macbeth and other re-interpretations of Shakespeare's works, as well as Tom Stoppard’s approaches in Rosencrantz & Guildenstern Are Dead; his Dogg’s Hamlet (where the characters ‘’Abel’’, ‘’Baker’’, ‘’Charlie’’, ‘’Dogg’’. ‘’Easy’’, and ‘’Fox Major’’ appear); and his Cahoot’s Macbeth; etc.
The director these days is responsible for the actual production of a play, as opposed to earlier days when it was the producer who, at least in Britain until the 1950s, had this task. In earlier centuries it was the author, an actor-manager, or a leading actor with whom the responsibilities of staging a drama were invested.
The director produces the play in the way he envisages how it ought to be seen as he interprets what the playwright intended within the drama; he takes care of the effictiveness of the rehearsals of the actors; and coordinates the work of designers and technicians in the production. However, the playwright’s work is still reflected in the director’s prompt copy, a separate form of stage instructions worked out in detail by the director, in which each actor is given details as to what is happening onstage, where exactly he has to be in relation to the back, front, left, or right of the stage, and what he is to do at any one time during the play.
The stage manager has to work with the director, and ascertain whether both the director’s objectives and the perceptions of the stage designers are compatible and realistic. He is usually the link between the director and the rest of the company, and is responsible for the director’s visions being passed down to each actor and member of the running crew. He is also responsible for safety and running an orderly backstage area. He maintains the prompt book and the call board, to which rehearsal schedule notes are affixed for the cast.
Stagecraft overall has to address the various shortcomings of the stage’s spatial and physical limitations. For example, the stage alone cannot be expected to provide wide and distant vistas, or vast spaces where armies gather or huge masses of people congregate. Natural phenomena such as thunderstorms or winds, that are often part of the drama, cannot be recreated in their original form. Furthermore, because of the distance involved, it is difficult for actors to portray the feelings, tensions and passions of their characters to the audience with much distinctiveness.
It is for these reasons that special technologies and techniques have been developed from classical times onward to supplement and augment the effects that are to be realised. Technical specialists help to implement these techniques by providing expertise in various areas of the production. The stage manager and his team must ultimately draw all these separate techniques together to create an effective and successful stage production.
The Classical unities of time, action and place were the main principles of French neo-classical drama during part of the 17th century.
They were introduced by Jean Mairet after a misreading of Aristotle's Poetics, and the critic Castelvetro insisted that playwrights and directors adhere to the unities. In the Poetics Aristotle had merely recommended that action should consist only of the main plot without any subplots, and that the time represented by action should not stretch beyond the length of one day. Time merely entered into his recommendations as a hint as to the limits of the attention span the audience could be expected to have. The unity of place, that of the confinement of the action in a play to one locality only, was not mentioned at all.
The effect of the three unities on French drama during this period was that their presentation became very restrictive, and it was only when later dramatists began to avoid mentioning specific times and places that the presentation of plays became more creative again.
Some dramatists and dramaturgists try to achieve particular effects that are not normally sought in a theatre presentation.
Bertolt Brecht coined the term "defamiliarization effect" (sometimes called "estrangement effect" or "alienation effect"; German Verfremdungseffekt) for an approach to theater that focused on the central ideas and decisions in the play, and discouraged involving the audience in an illusory world and in the emotions of the characters. Brecht thought the audience required an emotional distance to reflect on what is being presented. See epic theater.
One of the oldest techniques that has been used often, is that of teichoscopy or the "viewing from the wall", in which actors observe events beyond the confines of the stage, such as a distant battle, and discuss it on stage while the battle is taking place, as opposed to the event being reported by messengers at a later time after the event has happened. Shakespeare uses this technique in the final scenes of Julius Caesar (play).