Directing Three -- Staging

Fundamental of Stage Direction Spring 2002 * 2006 *

topics : "Stage Grammar"

Part III : 9 * 10 * 11 * 12

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Theatrical Space in Japan: the Formation and Transformation of Space (recommended reading)

DJ XXI
Director's Book

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Directors Forum

* The Images (The BM Album) are still not all in place! [new from vTheatre -- GeoAlaska, links to my graphic files are in the list minipages]

prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751

Script Analysis Directory & DramLit

Links

Featured Pages: Film Directing

Film Directing techniques are most usefull during this stage of training. Primary motion is first.

The modern scene designer, also known as the scenic designer or set designer, emerged in the late 19th century out of the work of the scenic artist, who painted large pieces of scenery for the theater manager. In those days scenery's main function was to provide a painted background for the actors and to indicate place and period. By the end of the 19th century, the requirements for realistic settings and furniture to make the stage look convincingly like the play’s actual setting called for a new theatrical artist—the scene designer.

Scene design can vary widely in style, ranging from the requirements of realism to theatricalism. Realism has been the dominant convention of modern theater, and it calls for the designer to create a stage environment that accurately represents real places, furniture, curtains, and so on. Stage realism pretends that the stage is not a stage but an actual living room, bar, street corner, or other environment. In contrast, scenic theatricalism expresses and symbolizes the play's atmosphere and imaginative life, rather than attempting to reproduce realistic details of place, lifestyle, and social and economic status.

In the early 20th century designers Adolphe Appia of Switzerland and Gordon Craig of Britain led a revolution against realistic stage design. They were concerned with creating mood and atmosphere, opening up the stage for large symbolic scenic pieces, and making theatrical design more expressive by using platforms, ramps, steps, panels, and drapes. The aim was to make the audience’s experience more theatrical by emphasizing language, sound, lighting, the actors’ presence, and the spectators’ imagination, instead of distracting the audience with a detailed set. This so-called new stagecraft was introduced to Broadway by Robert Edmond Jones and Lee Simonson in the 1920s. Today, such international designers as Ming Cho Lee, John Napier, and Josef Svoboda work within these design traditions in order to serve the requirements of productions ranging from Broadway musicals to single-set dramas of domestic life.

Gordon Craig *

Chapter Eleven. Directing Theatre
by Debra Bruch
danillitphil.com

The physical space of the performance (A Guide to Studying the Relationship Between Engineering and Theatre) ***

2007 -- textbook part 4, 5, 6 ...

Set

Costumes

Light

...

... Actors (THR221 acting2)

Index * stageMATRIX * Film Directing * Biomechanics * I * II * III * IV * V * Classes * SHOWS *

Stage

2005: Theatre is ‘composed’ (cum-ponere = placed together)

Designers collaborate with directors to create an environment for a play. That environment may be a well-appointed living room or a run-down tenement apartment, or it may be a nightclub setting or an empty stage for a chorus-line audition. The designers' work is to shape and fill the stage space and to make the play's world visible and interesting. In the modern theater various artists are responsible for different design effects. There are four principal types of designers: scene, costume, lighting, and sound. [encarta]
Of course, we can (and should) reverse the order: Director = Spectator! If you know how to deal with the text and actors, you must know how how to work the STAGE. Space and Time. where your actors and plays exists. Remember the final stage is the mind and heart of your spectator; therefore you have to arrange everything in front of him in such a way that the drama will take place inside him!

Spectator -- Writer

Spectator -- Director

Spectator -- Actor

Spectator -- Critic

Spectator -- Audience

Spectator -- Public
SELF
[ Meyerhold,Mayakovsky's Bathhouse, left ]
...Lesson 9-12
When and how to introduce the postmodern? "New Drama" (XX c. -- Chekhov) + reaction to it (Brecht, Epic Theatre) ... and NOW -- post-Beckett plays.
scripts to read in class (R/G are Dead, Godot, Catastrophe, Hamletmachine ... )
-- Is "directing" as a profession nothing but the manifestation of the POSTMODERN?
... High Modernity, first -- Stindberg Miss Julie
... [ STAGE ]
Century of Director (XX) -- theatre history chapter...

The Grotowski Sourcebook (Worlds of Performance)

Richard Schechner is a Professor of Performance Studies at Tisch School of the Arts, NYU and the editor of TDR: The Drama Review. Lisa Wolford is Assistant Professor of Theatre at Bowling Green State University.

Plays Online:

The Paper Canoe: A Guide to Theatre Anthropology by Eugenio Barba

Eugenio Barba is Director of the International School of Theatre Anthropology in Denmark. Richard Fowler is based at the Primus Theatre in Canada. He is also the translator of A Dictionary of Theatre Anthropology by Eugenio Barba and Nicola Savarese.

Summary

The move into a new field (space-time) is difficut, because we have to keep the previous two (text and actor) in mind.

Questions

Directing the Action (The Applause Acting Series)

Every actor and director who enters the orbit of Marowitz's major work will find himself challenged to a deeper understanding of his art and propelled into further realms of exploration on his/her own. Marowitz meditates on all the sacred precepts of theatre practice including auditions, casting, design, rehearsal, actor psychology, dramaturgy, and the text.

Experimental Theatre: From Stanislavsky to Peter Brook James Roose-Evans, one of Britain's most experienced and innovative directors, and founder of the Hampstead Theatre (which celebrated its twenty-fifth anniversary in 1984), surveys the history of the avant-garde in the theatre. He traces its origins through such key figures as Stanislavsky, Meyerhold, Craig, Appia, Copeau, Piscator, Brecht, Grotowski and up to the most recent experiments of Peter Brook's Mahabharata . This is a second, enlarged edition of a highly successful and widely-used book. As James Roose-Evans himself writes: 'I am convinced that if one is a practitioner of theatre it is an essential part of one's task to see and know what is going on in all of the arts. We have much to learn from one another as well as from the lessons of history.'