2009 -- meyerhold.us [biblio page]
anatoly.vtheatre.net/theatre ...
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![]() The Theatre Team: Playwright, Producer, Director, Designers, and Actors. Contributors: Jeane Luere - editor, Sidney Berger - editor. Publisher: Greenwood Press. Place of Publication: Westport, CT. Publication Year: 1998. Directing for the Stage: A Workshop Guide of 42 Creative Training Exercises and Projects (Paperback) by Terry John Converse 1566080142 The Directorial Image: The Play and the Director by Frank McMullan; Shoe String Press, 1962 * 1. Creative preparation a. Receptivity to and evocation of images b. Response to world of playwright * 2. Audience appeal a. Theatrical credibility b. Degree of audience involvement c. Compulsion d. Audience gratification e. Structural characteristics * 3. Potential dramatic values a. Mood b. Mood variations c. Theme d. Character e. Plot f. Dialogue * 5. Focus and configuration of the play a. Relative dominance of dramatic values b. Type of play c. Style of play * 6. Over-all image * The Theatre--Advancing by Edward Gordon Craig; Little, Brown & Company, 1919 - Part I - A Plea for Two Theatres: This Essay Is Dedicated to the Tired Business Man - A Durable Theatre - The Modern Theatre, and Another - In Defence of the Artist - The Open Air - Belief and Make-Believe: A Footnote to "The Actor and the Über-Marionette." - Imagination - Part II - Theatrical Reform - Public Opinion - Proposals Old and New: A Dialogue Between A Theatrical Manager and An Artist of the Theatre. - Part III - Gentlemen, the Marionette! - On Masks: By A Bishop and by Me - Shakespeares Collaborators - In a Restaurant - "Literary" Theatres - Art or Imitation?: A Plea for An Enquiry After the Missing Laws of the Art - A Conversation with Jules Champfleury - The Theatre in Italy: Naples and Pompeii: A Letter to John Semar - Church and Stage: in Rome: "When in Rome Do as the Romans Do." - Thoroughness in the Theatre - On Learning Magic: A Dialogue Many Times Repeated - Tuition in Art: A Note to the Younger Generation of Theatrical Students - On the Old School of Acting - A Letter to Ellen Terry - Yvette Guilbert - Sada Yacco - New Departures - The Wise and the Foolish Virgins - To Eleonora Duse - Ladies, Temperament and Discipline - Part IV - The Copyright Law: A Suggestion for An Amendment - The New Theme: Poverty - The Voice - Theatrical Love - Realism, or Nerve-Tickling - The Poet and Motion Pictures - The True Hamlet - The Futurists - Fire! Fire! The Director and the Stage: From Naturalism to Grotowski by Edward Braun; Holmes & Meier, 1982 - I. The Meiningen Theatre - 2. Antoine and the Theatre Libre - 3. The Symbolist Theatre - 4. Alfred Jarry - 5. Stanislavsky and Chekhov - 6. Edward Gordon Craig - 7. Max Reinhardt in Germany and Austria - 8. Meyerhold - the First Five Years - 9. Meyerhold - Theatre as Propaganda - 10. Piscator in Berlin - Ii. Brecht's Formative Years - 12. Artaud's Theatre of Cruelty - 13. Grotowski's Laboratory Theatre "Backwards and Forwards: A Technical Manual for Reading Plays" by David Ball * : biblio @ script.vtheatre.net [ appendix ] Art and Craft of Play Production by Barnard Hewitt; J.B. Lippincott Company, 1940 (basics) Improvisation for the Theater: A Handbook of Teaching and Directing Techniques by Viola Spolin; Northwestern University Press, 1963 - Theory and Foundation - I. Creative Experience - Ii. Workshop Procedures - Exercises: The Workshop Sessions in This Section Can Be Used in Progressive Sequence. - Iii. Orientation - Iv. Where - V. Acting with the Whole Body - Vi. Non-Directional Blocking - Vii. Refining Awareness - Viii. Speech, Broadcasting, And Technical Effects - Ix. Developing Material for Situations - X. Rounding-Out Exercises - Xi. Emotion - Xii. Character - Children and the Theater - Xiii. Understanding the Child - Xiv. Fundamentals for the Child Actor - Xv. Workshop for Six-To-Eight-Year-Olds - Formal Theater And Improvisational Theater - Xvi. Preparation - Xvii. Rehearsal and Performance - Xviii. Post-Mortem and Special Problems Avant Garde Theatre, 1892-1992 by Christopher Innes; Routledge, 1993 - 1: Introduction - 2: The Politics of Primitivism - 3: Dreams, Archetypes and the Irrational - 4: Therapy and Subliminal Theatre - 5: Antonin Artaud and the Theatre of Cruelty - 6: Ritual and Acts of Communion - 7: Black Masses and Ceremonies of Negation - 8: Myth and Theatre Laboratories - 9: Secular Religions and Physical Spirituality - 10: Anthropology, Environmental Theatre and Sexual Revolution - 11: Interculturalism and Expropriating the Classics - 12: From the Margins to Mainstream
The Work of Living Art: A Theory of the Theatre by H. D. Albright, Adolphe Appia, Barnard Hewitt; University of Miami Press, 1960 - Adolphe Appia and "The Work of Living Art" - Preface - 1. the Elements - 2. Living Time - 3. Living Space - 4. Living Color - 5. Organic Unity - 6. Collaboration - 7. the Great Unknown and the Experience of Beauty - 8. Bearers of the Flame - Designs - Adolphe Appia's "Man is the Measure of All Things" (protagoras)
Antoine and the Theatre-Libre by Samuel Montefiore Waxman; Harvard University Press, 1926 - Chapter I: Forerunners of the Theatre-Libre (the Dog Barks) - Chapter II: Henry Becque (and the Caravan Passes) - Chapter III: Andre Antoine - Chapter IV: The Beginnings of the Theatre-Libre - Chapter V: The Battles of the First Season (1887-1888) - Chapter VI: The Second and Third Seasons (1888-1890) - Chapter VII: Antoine's Dream - Chapter VIII: Censors and Sponsors (1890-1891) - Chapter IX: Curel and Brieux (1891-1892) - Chapter X: The High-Water Mark (1892-1893) - Chapter XI: The Last of the Theatre-Libre and After (1893-1896) - Chapter XII: The Influence of the Theatre-Libre Bodied Spaces: Phenomenology and Performance in Contemporary Drama by Stanton B. Garner Jr.; Cornell University Press, 1994 The Theater of Meyerhold and Brecht by Katherine Bliss Eaton; Greenwood Press, 1985 - 1: Brecht's Contacts with the Theater of Meyerhold - NOTES - 2: Everyone Sees Me and I See Everyone"" - NOTES - 3: The Actors Were Served Up in Portions on Small Platform- Plates"" - NOTES - 4: A Demonstratively Proletarian Shabbiness"" - NOTES - 5: Conclusions: A Trojan Horse Twentieth-Century Theatre: A Sourcebook by Richard Drain; Routledge, 1995 - Preface - Prologue - Part I: The Modernist Dimension - Introduction - 1: Alfred Jarry - 2: Adolphe Appia - 3: Gordon Craig - 4: F.T.Marinetti, E.Settimelli and B.Corra - 5: Enrico Prampolini - 6: Tristan Tzara - 7: Guillaume Apollinaire - 8: Walter Hasenclever - 9: Valeska Gert - 10: Stanislas Ignacy Witkiewicz - 11: Ivan Goll - 12: El Lissitzky - 13: Sergei Radlov - Notes - 14: Oskar Schlemmer - 15: Daniil Kharms - 16: Gertrude Stein - 17: Eugene Ionesco - Note - 18: Allan Kaprow - 19: Robert Wilson - 20: Tadeusz Kantor - 21: Richard Foreman - Part II: The Political Dimension - Introduction - 22: Bernard Shaw - 23: Sergei Eisenstein - Notes - 24: Ernst Toller - 25: Vsevolod Meyerhold - 26: Erwin Piscator - 27: Workers’ Theatre Movement - 28: Bertolt Brecht - 29: Athol Fugard - 30: Ariane Mnouchkine - 31: Judy Chicago - 32: HÉlÈne Cixous - 33: Carolee Schneemann - 34: Suzanne Lacy and Leslie Labowitz - 35: Edward Bond - 36: Charles Ludlam - Part III: The Popular Dimension - Introduction - 37: Gordon Craig - 38: Vesta Tilley - 39: Vsevolod Meyerhold - 40: W.B.Yeats - 41: F.T.Marinetti - 42: Vladimir Mayakovsky - 43: Grigori Kozintsev - 44: Blue Blouse - 45: Vsevolod Meyerhold - 46: Karl Valentin - 47: Bertolt Brecht - Notes - 48: Jean Vilar - 49: Armand Gatti - 50: Peter Schumann - 51: Dorothy Heathcote - 52: Dario Fo - 53: John Mcgrath - 54: Armand Gatti - 55: John Fox - 56: Kwesi Owusu - Part IV: The Inner Dimension - Introduction - 57: August Strindberg - 58: Adolphe Appia - 59: Gordon Craig - 60: Vsevolod Meyerhold - 61: LoÏe Fuller - 62: Isadora Duncan - 63: Wassily Kandinsky - 64: Constantin Stanislavski - 65: Paul Kornfeld - 66: Evgeny Vakhtangov - 67: Federico GarcÍa Lorca - 68: Antonin Artaud - Notes - 69: Judith Malina - 70: Jerzy Grotowski - 71: Louise Steinman - 72: Rachel Rosenthal - Part V: The Global Dimension - Introduction - 73: Antonin Artaud - 74: Bertolt Brecht - Note - 75: Enrique Buenaventura - 76: Errol Hill - 77: Luis Valdez - 78: Peter Brook - 79: Wole Soyinka - 80: Ntozake Shange - 81: Honor Ford-Smith - 82: Augusto Boal - 83: HÉlÈne Cixous - 84: Eugenio Barba - Notes - 85: Guillermo GÓmez-PeÑa American Theatre: A Chronicle of Comedy and Drama, 1969-2000 by Thomas S. Hischak; Oxford University Press, 2000 Mise En Scene by David Bradby, Annie Sparks 0413712303
David Mamet, On Directing Film
0140127224
The Art of the Film by Ernest Lindgren; Macmillan, 1963 - Part One: Mechanics - 1. The Division of Talent - 2. The Film-Maker's Tools - Part Two: Technique - 3. The Anatomy of the Fiction Film - 4. Editing: Basic Principles - 5. Editing: D. W. Griffith and Eisenstein - 6. The Use of Sound - 7. The Art of the Cameraman - 8. Film Music - 9. Film Acting - Part Three: Criticism - 10. Film Criticism - 11. To Delight or to Instruct? - 12. The Film as an Art Philosophy of the Film: Epistemology, Ontology, Aesthetics by Ian Jarvie; Routledge & Kegan Paul, 1987 - Introduction: On the Very Idea of a Philosophy of the Film: Casablanca - Part One: Movies as a Philosophical Problem - 1: Knowledge and Existence - 2: Plato and the Cave - 3: The Golden Mountain, USDA Approval and Realism - 4: Films and Academic Philosophy - Part Two: Movies as an Aesthetic Problem - 5: Art and Science - 6: Aesthetics and Essentialism - 7: Arguments against Films as Art - 8: Films as Art - Part Three: Philosophical Problems on Film - 9: Philosophy - 10: Popular Philosophy - 11: On Interpretation - 12: Citizen Kane and the Essence of a Person - 13: Rashomon: Is Truth Relative? - 14: Persona: The Person as a Mask - 15: Woody Allen and the Search for Moral Integrity The Television Handbook by Patricia Holland; Routledge, 2000
Vsevolod Meyerhold by Jonathan Pitches; Routledge, 2003 - 1: A Life of Contradictions - 2: Meyerhold's Key Writings - 3: Meyerhold's Key Production - 4: Practical Exercises "SO WHAT ARE THE BASIC SKILLS OF A BIOMECHANICAL ACTOR?
These skills are interdependent, they support one another and, although we can discuss them in isolation, separating them out in practice is far more difficult. Everything we talk about here will in some way be related to these skills - they underpin the work in biomechanics and, although it takes a considerable time to develop them to a professional standard, it's surprising how quickly you can make progress. Let's deal with them in general terms before we go any further.
PRECISION
Meyerhold's theatre was based upon a developed level of precision. He looked to the practice of circus performers and acrobats, who depend for their own safety on their ability to repeat precisely a movement or gesture, and he tried to bring the same skills into the theatre. If there is physical risk involved in the work the need for precision is multiplied, but even in the safe environment of a discussion over the dinner table the actor needs to be sure of what he is doing. Meyerhold understood this and understood too that, once a level of precision is brought to bear on any action, the action itself becomes more watchable for an audience.
BALANCE
COORDINATION
It's no coincidence, that in looking for a metaphor to describe the term coordination, I've had to use musical and mechanical terms - 'harmony', 'operating', 'moving parts'. Meyerhold's theatre was influenced by both disciplines (the word biomechanics itself is a clue to this) and it is worth keeping this in mind as we approach the exercises.
EFFICIENCY
RHYTHM
EXPRESSIVENESS
When a biomechanical actor walks on stage there is always some kind of reaction from his fellow performers. They may start, do a double-take or rearrange their perspective to compensate for the new arrival. Think of the work of the great silent screen actors (Charlie Chaplin, Buster Keaton, Harold Lloyd) for a model of this kind of expression. They all use a bold, physical style with clear and precise gestures and they all exhibit a beguiling sense of mischief.
RESPONSIVENESS
But although all stage actors, by definition, must be able to respond to the unpredictabilities of the live event, Meyerhold's emphasis on the responsiveness of the actor was extreme. His ideal is a kind of 'reflexive' actor, reacting almost instantaneously to a given stimulus, as if shocked by an electric charge. The 'charge' may be any number of things: a sound effect, another line, or an entrance or exit. But whatever it is the response time for the actor must be immediate.
PLAYFULNESS AND DISCIPLINE
The contemporary accounts of Meyerhold in the rehearsal room highlight both aspects of his character. He was an exacting taskmaster who had a precise vision of what he wanted to see on stage. But although this led him to take a sometimes very authoritative approach in his rehearsals, this atmosphere of control would be punctuated by moments of frolicsome play. Whether you are participant or leader in a biomechanical workshop it is worth reflecting on this relationship. As a leader you must define the right atmosphere for concentrated and sometimes gruelling physical work. But at the same time you have to be responsive to unforeseen occurrences and be adaptable enough to transform the atmosphere with a different exercise or a change of tack. As a participant you must commit yourself to what are very prescriptive exercises at times. But you must also learn to inject your own individuality into these exercises, to play within tightly controlled conditions.
THE EXERCISES
There is no strict order to these exercises, but I have organised them to suggest a progressive pattern of work - from general skills-based exercises, including a detailed look at the étude 'The Slap' and a revision of basic skills, to those which involve some level of improvisation, and finally to work based on text. Depending on the intended outcomes of the work you may emphasise different aspects of the practice, choosing specific exercises. This is fine but it is advisable to retain an element of the skills-based work throughout the process so that a proficiency in the key skills indicated in the last section can grow. First, though, you will need to obtain some basic equipment and undertake some warm-up exercises.
WHAT YOU WILL NEED
WARMING UP
One efficient way to warm up is to work upwards, from your feet to your upper body, neck and head. Begin with flexing the ankles, the calves and the thigh muscles. Once the legs are feeling warmer and more flexible, you can begin to run or walk in different directions. Pause to rotate the hips, to push them forward and back, left and right. Develop a walk which uses an exaggerated movement of the hips and take it across the circle. Work now on the knees. Sit in a half squat with a straight back. Take the squat lower and lower before straightening the legs to stand again. As a group, with the leader dictating the pace, lower yourself to a kneel without a sound. Stand again, without using your hands to help you up and repeat this cycle. Practise a Cossack dance: the group can even improvise a Russian soundtrack for it! Move to focusing on the upper body. Isolate the chest and shift it from side to side (left and right) without moving the hips or the stomach. Keep the shoulders parallel to the floor. Try and push the chest forward to make it convex, then back to make it concave. Then, add in the left and right movements so that you can move all the upper chest in a circle - forward, left, back, right - while the lower torso remains stationary. Once again this flexing of the body might express itself in a stylised walk. Put the hips-walk together with the chest movements and begin to see what kind of strange person emerges as you explore the space! Now pay attention to the head and neck: first, by simply flexing the head in the direction of the four poles - north, east, south and west; then, by improvising different responses using only the movement of the head and neck. These may include 'surprise', 'disgust', 'curiosity', 'panic' or 'lechery'. You can do this in pairs with one partner entering and making an offer and the other partner responding with a counter-offer. Analyse which responses have a forward impetus and which take the head back. You will find that once this kind of improvisation is set up you will already be using facial expressions to augment the work. So now develop these by thinking of the face as a mask. Warm up the face by making big faces, wide faces, diagonal faces or tiny faces. Again, toss in some suggestions for expressions and try to capture them in a frozen facial expression or mask: 'lust, 'anger', 'shock' and 'hilarity' will all stretch the face in different directions and begin to establish the sense of an external, non-psychological theatre. There are no definitive guidelines as to how long a warm-up should be, but you want to be happy that all the major muscle groups have been stretched out. A warm-up must also set the right tone. It's like an introduction to an essay - leading us into the work and giving the participants the right tools to understand the following exercises. Think about how you are covering the essential biomechanical skills, even when you are planning the warm-up. In the examples above, the straight warm-up exercises are interspersed with small improvisations and with very early character work. Using this approach, the participants gain a sense of style as well as simply flexing their muscles. .... " [ move it to biomechanics.vtheatre.net? ]
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O'Neill online
“Play Director’s Survival Guide - A complete step by step guide to producing theater in any school or community setting” by James Rodgers and Wanda Rodgers, ISBN 0-87628-862-X
The Stage Management Handbook by Daniel Ionazzi, ISBN 1-55870-235-0
Contemporary Stage Direction. George Black
Clurman's "On Directing"
Fundamentals of Play Directing by Dean and Carra.
"A Sense of Direction: Some Observations on the Art of Direction" by William Ball
Basics of Directing for The Stage (1999) 0615114431 VHS
Directing for the Stage by Polly Irvin, has just been published by RotoVision (ISBN 2-88046-661-X), at a UK cover price of £24.95 and a US price of $40.00.
It is a very accessible introduction to the role of the director in the contemporary theatre: including chapters not only on the "usual suspects", but also figures such as William Kentridge and Habib Tanvir.
Profusely illustrated with production shots, each chapter provides a short biographical introduction to the director, followed by a passage in which the director talks about their own approaches to theatre-making.
The book concludes with a career synopsis for each of the 12 directors covered, and a brief, but useful glossary of terms.
This would be a particularly useful introduction to modern directors for level one degree programme students and a useful reference for others at a later stage of their studies. The photographic illustrations would also make the book of significant value to scenography students. It is certainly a good buy for college and university libraries, providing a useful addition in a not overcrowded market of titles in this area.
Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia by Alma H. Law, Mel Gordon * A study of Russian theater director Vsevolod Meyerhold's stylized training method, Biomechanics, incorporating Russian film director Sergei Eisenstein's theoretical analysis of the method. Presents the basic principles of movement that Meyerhold and Eisenstein pioneered, traces the history of Biomechanics in relation to their aesthetic development, and describes basic Biomechanical exercises, drawing on newspaper accounts, letters, diaries, eyewitness accounts, and transcribed materials from public and private archives. Contains b&w photos and a glossary. Annotation c. by Book News, Inc., Portland, Or.
Directing Actors: Creating Memorable Performances for Film & Television Directing film or television is a high-stakes occupation - the white water rafting of entertainment jobs. It captures your full attention at every moment, calling on you to commit every resource and stretch yourself to the limit. But for many directors, the excitement they feel about a new project tightens into anxiety when it comes to working with actors. Directing Actors is a method for establishing creative, collaborative relationships with actors, getting the most out of rehearsals, troubleshooting poor performances, and giving directions that are briefer and easier to follow.
The following issues are discussed: * what constitutes a good performance * what actors want from a director * what directors do wrong * script analysis and preparation * how actors work * the director/actor relationshipDirecting Actors is the first book of its kind. Judith investigates in detail the sometimes painful, often frustrating, but potentially exhilarating relationship between actor and director. It provides simple, practical tools that directors and actors can use immediately - and takes the reader on a journey through the complexities of the creative process itself.
The Director's Eye (textbook)
Part I. Basics
Part II. Rehearsal
Part III.Script Analysis
Part IV. Style
Part V. Collaboration
Part VI. Space
Part VII. The Whole Picture
ACTORS on ACTING, Intermediate Acting -- textbook for THR331 Fundamentals of Directing
"Directors on Directing"
The book has two major parts:
Part 2. Vision and Method
Part 3. Director at Work
The Great Stage Directors: 100 Distinguished Careers of the Theater
0816026025
[ Most important -- Part 3. Analyzing the Script ]
Recommended: Directors on Directing: A Source Book of the Modern Theater. Contributors: Toby Cole - editor, Helen Chinoy Krich - editor, Helen Chinoy Krich - illustrator. Publisher: Bobbs-Merrill. Place of Publication: Indianapolis. Publication Year: 1963
Between Stage and Screen: Ingmar Bergman Directs. Contributors: Egil Törnqvist - author. Publisher: Amsterdam University Press. Place of Publication: Amsterdam. Publication Year: 1995.
Film Directors on Directing. Contributors: John Andrew Gallagher - author. Publisher: Praeger. Place of Publication: New York. Publication Year: 1989
The Director's Vision: Play Direction from Analysis to Production
Author: Louis Catron, College of William Mary ISBN: 0-874-84760-5
Description: ©1989 / Hardcover * Publication Date: February 1989
Stage Directing Handbook 1559361506
Notes on Directing Frank Hauser & Russell Reich
ISBN: 0-9724255-0-0
Variety***
directing Robert C. Huber
Stage Directions mag.
Sense of Direction: Some Observations on the Art of Directing
by William Ball
The Invisible Actor (Theatre Arts (Routledge Paperback))
by Yoshi Oida, Lorna Marshall (Paperback)
books page
Director's Vision First Time Director:
Directors on Directing: A Source Book of the Modern Theater by Helen Krich Chinoy, Toby Cole; Bobbs-Merrill, 1963 [ quotes * questia ]
Gassner's Producing the Play.
Arthur Edwin Krows' Play Production in America (New York: Henry Holt, 1916)
play writing amazon list *
Notes on Directing by Paul Lappen
This book consists of a series of observations and lessons about the art of directing stage productions gained by Hauser over the years, which Reich expanded into book form. Hauser has served as director of the Oxford Playhouse for many years and is a veteran of the London and New York stage.
This book covers the entire directing process, starting from before the first rehearsal and extending to how to deal with critics. Read the play more than once. Understand that plays depict people in extraordinary circumstances. Keep the audience guessing. Rehearsals need discipline. Sincerely praise actors early and often. Listen for actors who drop the ends of lines. Some things are not and should not be repeatable. Don't keep actors hanging about needlessly. Include the crew. Be decisive. An audience's interest in the action is only as high as the actors' interest in it. Lighten up. Don't expect to have all the answers.
This is a very specialized book. For someone with zero experience in the theatre, like yours truly, these observations feel reasonable and logical; practically common sense.It's recommended for those on the outside as it will give a good idea as to what putting on a professional production is all about. For those on the inside, whether actor, director, writer or technical crew, this book is a must. It tells directors what they should know, and what the crew would like them to know.
Directing for the Stage by Polly Irvin
The role of stage director is all-encompassing: storyteller, interpreter, collaborator, people-manager, producer, visual artist, counsellor, literary consultant and creative artist. Why take on this role? How do you become a director? Where do you learn your craft and how do you formulate your stylistic direction?
In Directing for the Stage, twelve top international directors reveal their approach, their inspirations, and what they believe the future holds for live theatre. The contributors include Yukio Ninagawa, who has developed a spectacular grand-style theatre that marries traditional Japanese and Western traditions; Deborah Warner, who reminds us of the joy of stripping theatre back to the actor, the text and the story; and Robert Lepage, one of the world’s leading theatrical inventors.
Directing for the Stage brings together the diverse processes and methods of working of its contributors in their own words and each has contributed unique visual material – sketches, notes, images from the rehearsal process, drawings of the set in progress and images from the final productions.
Between Director and Actor: Strategies for Effective Performance
Mandy Rees, California State University, Bakersfield, John Staniunas, University of Kansas
Heinemann Drama / 0-325-00432-3 / 2002 / 240 $18.95
One Acts "Small Chekhov" *
Misdirecting the Play: an Argument Against Contemporary Theater Ivan R. Dee, Chicago, 2001
Threads of Time by Peter Brook (Methuen 264pp £ 16.99)
The Empty Space:
Reading the Plot:
Peter Brook : A Biography by Michael Kustow
The Staging Handbook (3rd edition) Chapter Five
Scenery
Experimental Theatre:
@2005 film-north *
* Theatre Chronology *
[ ru ]
instead of links page:
The authors concentrate on the production process, an ideal bridge between classroom training and theatrical experience for both director and actor. Their specific focus is the use of notes. Directors communicate to actors through notes, and actors use those notes to shape their performances-a process commonly used but rarely documented. The major portion of the book consists of 65 notes, both beginning and advanced, that a director might communicate to an actor during the rehearsal process. Arranged by category-from structuring the scene and achieving vocal clarity to maintaining pace, flow, and believability-these notes can be read from cover to cover or selected individually depending on the problem at hand. An extensive interview section shows how different directors and actors approach common problems and offers practical advice about note giving and taking.
From Russian Theatre