Caligari 08
[ 5 ] Part 5. SHOWCASE

... compare Hamlet & R/G are Dead [2008]

* 2009 -- caligari project [webshow]

Last web-chapter to read before Last Unit [5] --

"Beyond Classroom" -- my pages in Theatre Theory (or in Total Director).

... or is it Book of Spectator?

Directing Genre is for graduate school... or for "Directing Postmodern"... [title]


I wanted to write about Theory, but lately -- about Poetry -- of directing. Old idea Mirror [inspired by Tarkovsky], the world, where left is right and right is left (stage).

I remember enough of physics to understand the optics, but I want to think about metaphysics.

Is director this new poet of the third millennium?


[Where to write about it? Director's Notes, Diary?]

... Oh, mirror, mirror!

"Directng" is not a legitimate profession in theatre. Not yet. Too early. Only a couple of generations of stage directors (Meyerhold, Brook and -- now). Not in USA... Consider this subdirectory as a door to Advanced Directing!

Spring 2006 -- Pinter

Script Analysis Directory & DramLit

Featured Pages: Film Directing * Wedding: class project -- finals *


Textbook: Part VII -- The Whole Picture (305)


Overview -- and final exam!


I still didn't get to writing captions to photos...

Theatre Theory Pages

Directors Lab Lincoln Center Theatre

Performance Theory by Richard Schechner; Routledge, 1988


Understanding Hamlet: A Student Casebook to Issues, Sources, and Historical Documents by Richard Corum; Greenwood Press, 1998


Beckett in Directing Class script breakdown

Godot biblio notes in Directing directory

Director's Notes ='06 (program) UAF

* -- Сэмюел Бекетт. В Ожидании Годо

[ru] ... Вот они срывают аплодисменты невидимого зала, вот заигрывают с ним, вот раскланиваются перед ним на авансцене.

They repeat everything so many times = they have to act (themselves)!

Раз мир так скучен, пуст и однообразен, Владимиру и Эстрагону приходится выдумывать его самим - как артистам на пустой сцене.

BOY -- Этого пятого персонажа пьесы Беккета в спектакле не было вовсе. Он - фантом. Точнее зритель из зала.

Стуруа 2003 года -- [ reviews from Moscow ]

Beckett @ 100 conference 2.2006

Waiting for Godot

Why this is last, not the fist part -- directing GENRE?

PS: Internet2 conference and Virtual Theatre

... After UAF and stagematrix

Matrix -- Stage Directing V. Shows

2009 : Africa


2008 -- H2O [Hamlet2.0]

2005: Small Chekhov


How to use ShowCases directory (archives of the shows I directed or plan to direct):
1. Look through the listing (titles), not all directories are fully developed [ ]

2. Read virtual theatre pages: all my production since 1999 have vtheatre aims (in different aspects, even the instructional class pages are the part of this project).

3. All parts have artistic goals, i.e. the pre-production phase is the biggest.

Four major points: Sophocles - Shakespeare - Chekhov - Beckett

2006: -- Beckett (the end of my showcases).

Michael Chekhov (Routledge Performance Practitioners) Michael Chekhov was Stanislavsky's star student and a master acting teacher. Exiled from Soviet Russia, he made his way to England and then to the United States, spending his last years as an actor and acting teacher in Hollywood. Along the way he introduced countless students to his acting technique known most famously for it's "psychological gesture." Series editor Franc Chamberlain traces Chekhov's history and development, and lays a workshop-structured series of exercises for actors studying the Chekhov technique. Invigorating and insightful, the volume will help acting students to engage their imaginations and students to understand this fascinating man. ("Acting Lessons for Directors" I say). The Production Notebooks: Theatre in Process (Theatre in Process, Vol 1) Script Analysis for Actors, Directors, and Designers, Second Edition For serious theater students, Thomas teaches the skills of script analysis using a formalist approach, i.e. using a standard system of classifications to study the written part of a play, excluding such considerations as performance, scenery, or costuming.
A Dictionary of Theatre Anthropology: The Secret Art of the Performer

A Dictionary of Theatre Anthropology elucidates the nature of dramatic action and the actor's craft by examining the dramatic event cross-culturally. More than just a dictionary, this is a handbook for theatre practitioners and a guide for students and scholars of transcultural performance. Delving into the underlying principles of technique in both Occidental and Oriental traditions, A Dictionary of Theatre Anthropology aims to expand our knowledge of the possibilities of the scenic body, and of the spectator's response to the dynamics of performance. The result of ten years' research, the dictionary is lvishly illustrated with photographic essays as well as drawings and diagrams. Go to HamletDreams and Shakespeare pages in Script Directory.


American Avant-Garde Theatre

There are fascinating discussions and illustrations of the productions of Living Theatre, the Wooster Group, Open Theatre and Performance Group, among many others. Aronson also examines why avant-garde theatre declined and virtually disappeared at the end of the twentieth century.
Next: film directing
@2002-2003 film-north *

The Russian Theatre After Stalin

This is the first book to explore theater in Russia after Stalin. Through his work at the Moscow Art Theatre, Anatoly Smeliansky is in a key position to analyze contemporary events on the Russian stage and he combines this first-hand knowledge with valuable archival material. Smeliansky chronicles developments from 1953 and the rise of a new Soviet theater, highlighting the social and political events that shaped Russian drama and performance. The book also focuses on major directors and practitioners and contains a chronology, glossary of names, and informative illustrations. Vsevolod Meyerhold (Directors in Perspective) This book traces the career of the Russian revolutionary theater director, Vsevolod Meyerhold, from his early years as a founding member of the Moscow Art Theater with Stanislavsky and Nemirovich-Danchenko, through his Symbolist period, his experiments with commedia dell'arte and other popular forms, and his glittering triumphs in the tsarist imperial theaters. Leach examines Meyerhold at the height of his fame and influence after the Russian Revolution and during his demise in the Stalin era. He describes in detail Meyerhold's "system" of theater, which involved the audience, the place of the forestage, "biomechanics" and actor training, and the mise-en-scene. An exploration of Meyerhold's legacy, which can be detected in the work of Brecht, Eisenstein, Peter Brook and others, concludes the study.
* GODOT.06: Doing Beckett => main stage Theatre UAF Spring 2006 *