2007 Theatre Directing History (overview)
2008 -- R/G production group/list

Concept and script analysis

... t-blog

textbook : part 1 overview

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"Stage Grammar" TOPICS: drama + comedy + postmodern + time + space + past + present + future +
First Directing page: Chronotope -- theatre spaces and acting areas *
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More and more I use film terminology in BM class; simple as CU and MS frame -- or more complex, like line of action, axis of tention.
Index * Method Acting * Script Analysis * SHOWS * stageMATRIX * appendix * Film Directing * I * II * III * IV * Classes *
Overview of THR332 + Textbook + webpages
see directing Group

Lesson 1: Falling in Love

If you love theatre, you know how to fall in love with a play.

Love at first sight?

From stage directing

Vision?

You have to be ready. "The Play" is a gift, an answer to your cravings... Your choice. As in love -- what do you see in it?

Here are the typical points of directorial approach to a play:

The Directorial Image: The Play and the Director by Frank McMullan [ Shoe String Press, 1962 ]

1. Creative preparation : 
a. Receptivity to and evocation of images  
b. Response to world of playwright  
 
2. Audience appeal : 
a. Theatrical credibility  
b. Degree of audience involvement  
c. Compulsion  
d. Audience gratification  
e. Structural characteristics  
 
3. Potential dramatic values : 
a. Mood  
b. Mood variations 
c. Theme  
d. Character  
e. Plot  
f. Dialogue  
 
5. Focus and configuration of the play : 
a. Relative dominance of dramatic values  
b. Type of play  
c. Style of play  
 
6. Over-all image 
I would start with the "overall image"... I don't know how much the breakdown could help you to fall in love. It's justifications.

* Concept in Theatre & Film?

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CLASS :

1 * textbok overview

2 * webpages intro -- direct.vtheatre.net

3 * class group/list (homework)

* students bios

* questions


Hamlet Act 1 Scene 1 [ homework : exposition ]

(From Quintessence of Dust: The Mystical Meaning of Hamlet by Kenneth Chan)

The opening scene in a Shakespearean play usually introduces the area of concern that the play addresses. In Hamlet, the opening scene dramatically evokes the mystery world we are all in, the thinly veiled situation of every man, caught between the mundane world of the senses and the wider spiritual world just a shade beyond. We are treading on a divide, stranded on a wall separating the seen and the vast unseen. On the bleak battlements of a cold windswept night, the setting of the opening scene, we may be keenly aware of the divide. This mystery world is the play's area of concern.

The exposition in Shakespeare's plays also sets the tone and mood of the play. In Hamlet, it evokes an aura of mystery and a confrontation with the unknown. From the beginning, this sense of suspense and underlying mystery pervades the entire play.

The action begins at midnight, on the stark platform of the castle wall.

Barnardo        Who's there? 
Francisco        Nay, answer me. Stand and unfold yourself. 
Barnardo        Long live the King! 
Francisco        Barnardo? 
Barnardo        He.
Significantly, Barnardo, the relieving guard, wrongly issues the first challenge, suggesting an atmosphere of mistrust.
Francisco        You come most carefully upon your hour. 
Barnardo        'Tis now struck twelve. Get thee to bed, Francisco. 
Francisco        For this relief, much thanks. 'Tis bitter cold, 
                        And I am sick at heart. 
In a few lines, Shakespeare brilliantly establishes the tone of uncertainty and apprehension, and he maintains this tone throughout the play.

[ http://homepage.mac.com/sapphirestudios/qod/scene1.html ]

spring 2007

©Film-North * Anatoly Antohin. "Stage Grammar"
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