directing 4, lesson 16 -- public

Directing Public... directing 4, lesson 16 -- public

13 8 14 * 15 ...

If you do not have YOUR public, you don't have show!

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Lesson 16. public

THR331 Fundamentals of Directing 2005 * Wedding: class project -- finals * Links

Featured Pages: Film-North on directing!

Dangerous Liaisons

Summary

Questions

Notes

Show Box Score:

Writing: 1-5
Directing: 1-5
Acting: 1-5
Set: 1-5
Costumes: 1-5
Lighting/Sound: 1-5
[ rating online? ]

Public wikipedia : Public is of or pertaining to the people; belonging to the people; relating to, or affecting, a nation, state, or community; opposed to private; as, the public treasury, a road or lake. Public is also defined as the people of a nation not affiliated with the government of that nation.
Public also refers to the general body of mankind, or of a nation, state, or community; the people, indefinitely; as, the public; also, a particular body or aggregation of people; as, an author's public. "Public Network" means a network that is regulated as a common carrier.
Aggens (1983), in the paper titled "Identifying different levels of public interest in participation" states: "The is no single public, but different levels of public based on differing levels of interest and ability".

Book of Spectator [ also, 5. Shows & Theory ]

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2005: Theatre & US

Theatre as Philosophy

Beckett's philosophical muse is, after a dour pessimist—Arthur Schopenhauer, who describes life as a "task" and as "drudgery" filled with
…universal need, ceaseless cares, constant pressure, endless strife, compulsory activity, with extreme exertion of all the powers of body and mind….the tumult is indescribable. But the ultimate aim of it all, what is it? To sustain ephemeral and tormented individuals through a short span of time in the most fortunate case with endurable want and comparative freedom from pain, which, however, is at once attended with ennui; then the reproduction of this race and its striving. In this evident disproportion between the trouble and the reward, the will to live appears to us from this point of view, if taken objectively, as a fool, or subjectively, as a delusion, seized by which everything living works wit the utmost exertion of its strength for something that is of no value. But when we consider it more closely we shall find here also that it is rather a blind pressure, a tendency entirely without ground or motive.
http://brainstorm-services.com/wcu-2004/godot-approaching.html * GODOT.06: Doing Beckett => main stage Theatre UAF Spring 2006 *

R/G -- waiting for my main character -- PUBLIC.

Venice Carnival 2002 & DJ 2003

Homework

Notes

* 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]

Next: Biomechanics

Last Part [ textbook : Part Seven -- The Whole Picture ]

Time:

We may have trouble explaining Waiting for Godot in the traditional ways we talk about theme and "meaning" because the play is so unconventional. Development is circular rather than linear, and this frustrates our linear, logical minds. Time moves repetitiously rather than progressively, frustrating another of our ordinary expectations. The characters, rather than developing in the traditional sense, have the echo the same conversation again and again; language is mystifying and meaningless, futile rather than fruitful (especially when Lucky "thinks"). All action in Waiting for Godot is mere distraction; it doesn't lead anywhere other than to the central awareness with which it began, though by the play's end we see it all the more distinctly: "Nothing to be done." http://brainstorm-services.com/wcu-2004/godot-approaching.html