Stagematrix Take 2
«The freedom of improvisation was last week, and you can't get that freedom back unless you have mastery of the material. The spur of the moment has to come of actually knowing what is and what isn't». Brook
Broadway tickets at TickCo. Get the best available Mary Poppins tickets as well as tickets to Wicked and Disney's High School Musical tickets.
"You cannot create a director - a director is born... a true director comprises within his own person a director-teacher, a director-artist, and a director-administrator. What can we do if one has these qualifications where another has not?" (Stanislavsky)
The purpose of theatre is... making an event in which a group of fragments are suddenly brought together... in a community which, by the natural laws that make every community, gradually breaks up... At certain moments this fragmented world comes together and for a certain time it can rediscover the marvel of organic life. The marvel of being one. -- Peter Brook
1. First impressions: notes of reactions to play on initial reading, including images, colors, etc.
2. Research: Summarize the most important insights you have gained from your research into your play. Discuss specifically how your research findings will influence your interpretation and/or production of the play. List sources consulted (in bibliographic form).
3. One-sentence statement of action (root action/significant action).
4. Structural Analysis: identify and briefly discuss inciting incident, each major complication (in order), major crisis (turning point), major structural climax, major emotional climax, resolution. Give enough detail in your analysis so that the reader can identify the point in the play that you are talking about and why you consider this the inciting incident, etc. For complications, note the effect of the complication on the action.
5. Brief discussion of theme. State theme clearly and support your choice of theme with evidence from the play.
6. Brief discussion of style of the play. What choices are you making about style for your production? Why?
7. Spine of the play--identify and discuss briefly.
8. Character Analysis--Biography.
9. Motivational Units: Break your scene into motivational units and number/name the units. Present this portion of the analysis in promptbook format, with starting and ending points of each unit marked; unit analysis should be on page facing page of text.
10. Discuss any particular directorial problems posed by the play and the scene.
biblio, references & ect.
QuestionsEvaluation of Directing:
Acting:Names of Principle Actors and Characters:
Supporting Actors & Characters:
Evaluating the Designs:Scene Designer/Set:
Notes1. Description (webpage/chapter)
2. An excerpt
3. Table of contents
Wedding: class project -- finals *
Theatre Books Master Page *
The Director's Eye by John Ahart (textbook)
* Monologue script analysis (review from acting classes).
* Scene study (list, recommended). Drama and Mise-en-scene.
* Genre (drama, comedy).
* Concept (titles) and designers
* one act (Chekhov comedies: Bear, Anniversary, Wedding, Proposal, Tabacco).
* Bullet style print-outs, summaries ("doc" directory).
* Director-Manager (promp-book). [Once a show has opened (premiered before a regular audience), theatre directors are generally considered to have fulfilled their function. From that point forward the stage manager is left in charge of all essential concerns.]
* Styles of directing: Directing is an artform that has grown with the development of theatre theory and theatre practice. With the emergence of new trends in theatre, so to have directors adopted new methodologies and engaged in new practices. Generally speaking, directors adopt a style of directing that falls into one or more of the following categories:
The dictator In this style of directing, the director has a stongly assertive role and is very dominant in the process of creating a theatrical work. Rehearsals are more or less fully controlled and predictable, with the actors having little or no say.
The negotiator * 'The negotiator' is a style of direction in which the director focuses on a more improvised and mediated form of rehearsal and creation, using the ideas of the production team and actors to shape a theatrical work in quite a democratic style.
* "The creative artist" * The director sees himself or herself as as a creative artist working with the 'materials' of dramatic creativity, be they the actors, designers and production team. The "creative artist" wants input from the actors but, as artist, has final say over what is included and how ideas are incorporated.
The confrontationalist * In this style of directing, the director is in constant dialogue and debate with the cast and the production team about creative decisions and interpretations. The director seeks out and actively engages in such exchanges. Out of these exchanges, which can sometimes be heated or risky, comes a final contested product.
Many contemporary directors use a creative amalgam of styles, depending on the genre of the theatrical work, the nature of the project and the type of cast.
* (new) Dramaturg is a position in the theater which gained its modern-day function through the innovations of Gotthold Ephraim Lessing, a playwright and theater practitioner who worked in Germany in the 18th century.
The dramaturg's contribution was to categorize and discuss the various types and kinds of plays, their interconnectedness and their styles. Enhanced by a tradition of generous support for theater as part of German cultural identity, which gave nearly every city a fully staffed theater supported by public funds, the position of dramaturg includes the hiring of actors and the development of a season of plays with a sense of the connectedness between them, the assistance and editing of new plays by resident or guest playwrights, the creation of programs or accompanying educational services and even helping the director with rehearsals, serving as elucidator of history or spokesperson for absent (deceased) playwrights.
In Britain dramaturgs function similarly although they are more often, themselves, also playwrights. In the USA, where this position was until recently relatively unknown, it has enjoyed a recent growth particularly in cutting edge theaters with an emphasis on developing new plays within the theater.
"The director's most time-consuming task is to rehearse the actors. The director must be organized, for he or she focuses the entire cast during this time. The director's medium is the actor in space and time. Space is defined by the acting area and the setting while time is defined by the duration of the production and the dynamics of the drama.(3) The director must be able to see the actor as a person and strive to draw out that person's potential. Consequently, the director constantly must be sensitive to both the needs of an actor and at the same time think of ways to meet those needs in positive ways." http://www.danillitphil.com/base.html
"Directors tend to follow an established process during rehearsals. Initially, the director usually has the actors read through the script. The read-through allows the director to discuss his or her vision, character motivation, and interpretation which will help the actors begin to see their characters in terms of a unified understanding. The director then blocks the actors. Blocking are an actor's basic broad movements which serve as the physical foundation of the actor's performance. The director indicates movement such as entrances and exits and positions actors onstage. Often, this step takes preplanning. During this stage, interpretation begins to be worked out, for blocking is linked to a character's motivation to move or position.
The next step would be to work on detail, which helps an actor discover his or her character. Detail includes working out stage business, which is an actor's small-scale movement. For instance, making coffee, answering a phone, putting on shoes, or adjusting a tie are pieces of stage business. Hopefully, the actor will originate much of his or her own stage business.
Motivation and detail continue while time is spent devoted to lines. Interpretation of dialogue must be connected to motivation and detail. During this time, the director is also concerned with pace and seeks a variation of tempo. If the overall pace is too slow, then the action becomes dull and dragging. If the overall pace is too fast, then the audience will not be able to understand what is going on, for they are being hit with too much information to process."
Chapter Eleven: Directing Theatre by Debra Bruch
Director's Eye 2005 textbook
Of course, I have the production notes directory on Oedipus, and, of course, there is the "image gallery" -- the key visual directions for the show. I use some here because directing is connected with teaching, and, yes, teaching directing requires directing..."Galatea" image has nothing to do with Oedipus, but the face is of Jocasta, who gave birth to children of her own son...
Sphinx -- relation to the fate idea.
Fate and Hero (not just a "character").
Sphinx is a woman? Man-woman? Monster...
Directing class: my questions are your questions. The questions everybody who wants to do Oedipus must ask:
Do you believe in fate?
Do you believe in freedom of choice?
Speak your (American) mind in 2005, please!
Anatoly, why "Oedipus X"?
Why "Malcom X"?
When you don't know your past, can you face the future?
The future is always "X"!
Read my pages on Marxism.
Remember the three questions by Sphinx?
Oh, man! You killed the bird the way you killed your father! No, you killed the lion. No, you killed the stranger...
I will stay away from Dr. Freud, no much help from him, the user of culture.
projects: Oedipus 2005
new: Taming of the Shrew 2004
missing: film acting
Post-production (PM) and reflections (lessons); showcases directory.
Basic directing techniques including script analysis, production planning, blocking and working with the actor.
How could they work with actors without knowledge of how to work with the script? How can they work with scripts without knowing what actors need?
Teatre directing consists of two parts: A technical and an artistic.
Business: The work manager's roll is the same as the theatre director's - to bring out the individual resources and join together these capacities in the work towards a common goal. The roll of the work team is the same as the ensemble - to provide the work substance and quality based on every personal workman knowledge and experiences.
More than anything else theatre is a collaboration, developed through a listening awareness and an extrovert creative action. As a manager/director you can get new experiences and exercise your leadership in different way and in a stimulating enviroment.
Read: The Empty Space Peter Brook -- One of the world's most famous directors gives us the distillation of his knowledge and experience of the theatre. A brilliant book, should be read by many besides those passionate few to whom it will be required reading. $16.99.
Theatre UAF presents 4 Chekhov plays in "FOUR FARCES AND A FUNERAL" Fridays & Saturdays December 2,3,9,10 at 8:15 PM Sundays December 4 & 11 at 2:00 PM Lee H. Salisbury Theatre 50 Year Birthday Celebration of Theatre UAF with Guest of Honor, Lee H. Salisbury Friday December 2, Regents' Great Hall Reception to follow Performance Theatre UAF University of Alaska Fairbanks 302 Fine Arts Complex PO Box 755700 Fairbanks, AK 99775-5700 Phone (907) 474-6590 Fax (907) 474-7048 TICKETS (907) 474-7751 firstname.lastname@example.org www.uaf.edu/theatre
Spring08 -- R/G are Dead
* GODOT.06: Doing Beckett => main stage Theatre UAF Spring 2006 *
2007 An online course supplement * Film-North * Anatoly Antohin * eCitations
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Director's Eye 2005 textbook