Hamlet & Hamlet2.0 : Page-Prelude for Part 5 + [R/G are Dead] Theatre UAF cut.
I try to link directing pages with show pages... to add more structure I am making "year" pages ( to mark the layers of my web-archeology ).
Yes, and the blogs. Oh, yeah, this T-BLOG.
How much does it help to understand my pages? I do not know. My concern is to keep me writing.
In order for me to go on (after my strokes), I have to lose many areas of attentions, i.e. to concentrate on most important.
Of course, my texts will never be self-explanatory. Podcast/webcast -- I even made a pahe "online" (technology is there to do it).
Ten years passed since I wanted this format of "virtual theatre" (3 Sisters, 1999), and still want to have "webshow" ...
Theatre of the Third Millennium is too new, too radical and its development will take more time than I have.
-- "Directing Public" is for stagematrix.com or some research pages.
2007/8 -- THR331. Fundamentals of Directing 2005 * Wedding: class project -- finals *
Acting in Person and in StyleSubscribe to my Open Class @ 3sisters
Actors on ActingSubscribe to my Open Class @ 12night
The Director's Eye Subscribe to my Open Class @ Directing!
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751
Featured Pages: Theatre w/Anatoly
Pinter -- Spring 2006
SummaryActor-Audience Interaction only within ONE (same) chronotope! Common experience (live theatre)!
QuestionsBlocking: to Control or to Free?
Limitations? Framing the action. Stops.
Goals and Rules of blocking.
Space MUST be used -- not using any part of it is a statement!
"Blocks of Space" and blocks of action.
Only the audience puts it all together (text, actor, space).
Minimalistic: do the functionality test.
Atistic Aim -- movements as images, symbols, metaphores.
Theater of the 20th Century
Theater became international in the 20th century. Rapid modes of communication and travel fostered worldwide touring companies; cultural exchanges of artists, theories, and productions; and international publication of dramatic texts. Numerous experimental movements of varying duration included symbolism, expressionism, theater of the absurd, epic theater, documentary drama, and environmental production. However, realism remained the most popular mode of writing and staging in the West, and the picture-frame playhouse—enhanced by lighting, sound, and other technologies—remained the most common style of theater architecture.
The American theater in the 20th century fostered playwrights of extraordinary influence, including Eugene O'Neill, Lillian Hellman, Tennessee Williams, Arthur Miller, Edward Albee, and Neil Simon. (See American Literature: Drama). The United States also pioneered musical theater as the most popular form of commercial, nonprofit, and amateur entertainment. Broadway, the heart of New York City’s theater district, became synonymous with the production of musicals—both revivals and new works—and with multimillion-dollar production costs. The American theater also became ethnically and ideologically diverse, beginning in the 1960s with the rise of African American, Latino, Asian American, feminist, and homosexual theater groups, to name a few. The emergence of professional regional companies or resident theaters (now called the regional theater movement) formed a parallel trend in the 1960s.
For several decades, government subsidy of the arts in the United States—begun in 1965 when federal legislation established the National Endowment for the Arts—assisted nonprofit theaters, orchestras, museums, and opera and dance companies. In the 1990s, federal funding for the arts came under attack from Congress. Nonprofit professional theaters responded by engaging in coproductions with other theaters, sharing artists and costs, and providing a source for serious dramatic plays that eventually moved to Broadway. Despite rising costs and criticism that Broadway theater has become homogeneous and predictable, audiences are larger than at almost any time in the history of theater in the United States, and playwrights, actors, and directors have become household names. [encarta]
Show Box Score:
Jung list questia.com
The Private Theatre (idea)
... Spring 2009 [Caligari]
2006 : Godot
I made [too] many pages hoping that I will be working on the textbook "Stagematrix"... I work on it, but I do not see the end of it. Maybe Spring 2005(6), when I teach THR331 Fundamentals again?NEW: The Taming of the Shrew notes.
Updates? Beside the class notes, "Anti-Oedipus" I direct, the tragedy...
"Some directors are autocratic, some democratic, and some move back and forth. Normally, the visual environment is first determined in collaboration with the designers. But it is in rehearsal with the actors that the details of performance are evolved, by playing out the actions of the characters and the ideas and images discovered in that puzzle that is the dramatic text. Rehearsal is about challenging oneself and one's collaborators. It is about work, play, imagination, repetition, discipline, and detail. It is the director's job to facilitate it all and, at the same time, maintain focus on the underlying dramatic structure and find those factors that will unify and harmonize these efforts into a meaningful relationship with the audience..." http://www.nd.edu/~alcoll/sheedy/bain2001.html
Use Wilde for scenes in class: stay with the classics, please!
* Textbook: Director's Eye -- part 6. Director and Theatrical Space (pp.245 - 301) Ch. 28-31 -- blocking! Working Actors through/by space (set and prop) -- The Empty Space idea (Brook).
SET = characters' environment.
No physical action without 3D + Time (Chronotope).
mise-en-Scene or BLOCKING?
Perhaps, Hegelian approach (dialectics) was implanted in my brains by Marxism in elementary school, but I do see everything as a struggle. As a director I have to overpower the writer, actors, space, time -- and yes, the public. I have to make them into public!* GODOT.06: Doing Beckett => main stage Theatre UAF Spring 2006 *
I look down at the empty house -- how different by nature they are! Seats! the opposite to the "empty space" of stage...
I look down on them. Silent, in the darkness. Cowards! They afraid to face life, themselves, light.
I have to fight them. I have to give birth to them!
I start with my deepest disrespect for them. And admiration...
Oh, the miserable! They pay to see themselves! They are hidding. Even now!
How can I love them?
How my dear actors could ask for their love? How the greatest minds from Sophocles to Beckett could seek their understanding? Who the hell those idiots think they are?
©Film-North * Anatoly Antohin.