Glossary : Studio theatre refers to a small theatre space such as The Pit, London or the Studio Theatre Sheffield,Sheffield, seating between 80 and 200 people. The term is often used to distinguish between the main, proscenium arch space and the smaller space when these are housed in a single complex (eg The Pit). [W]
One of the founders of the profession, Vladimir Niemirovitch-Danchenko, said:
'The stage director is made up of three parts. The director-interpreter of the play; he is also the one who shows you how to act and thus you can call him the director-actor or the director-teacher. The director-mirror, reflecting the individual qualities of an actor. The director-organiser of the whole production...'
* 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!
2006 updates -- apparatus, i.e. textbook, biblio, books, appendix, references, links, list pages.
Russian Directors (XX century): RAT files
Borovskiy (stage designer)
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2005 * As you noticed, I gave up on "How To Use" Anatoly's webpages. Use the search "filmplus.org" and/or "vtheatre.net" (Google) at the bottom!
use THR331 Syllabus
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"WHY DO YOU FIND NO STAGE DIRECTIONS IN CLASSICAL PLAYS BUT MANY IN MODERN PLAYS?
Authors of classical plays, such as those from Greek and Elizabethan eras, wrote few stage directions. To those plays modern editors help readers and producers by adding stage directions, lists of characters, act and scene divisions.
Starting in the late nineteenth century, however, playwrights began including detailed stage directions.
Why do modern playwrights, in contrast to those from the past, use stage directions? Five reasons reflect the changing nature of theatre and humanity.
1. First, classical playwrights such as Aristophanes, Shakespeare, and Molière were physically present during the preparations for productions of their plays, which were presented by only their companies. The dramatists spoke directly to the actors. (Indeed, Molière and Shakespeare were actors in those companies.) Modern playwrights, however, may be present at the premieres of their plays but not at the many professional, regional, educational, dinner, and community theatres that produce their plays. Unable to communicate orally to actors, directors, and designers, today's playwrights necessarily rely on written communications--yes, stage directions--to the production personnel.
2. Secondly, early playwrights did not consider stage directions for the simple fact that plays weren’t published. Dramatists had no need to write stage directions. In contrast, modern authors are widely published. They use stage directions to help producers, directors, designers, actors, and readers perceive the creator's vision of the play. Those stage directions are vital stimuli to create an imaginary "theatre in your head" to "see" and "hear" the play on stage. And to transform the play from page to stage.
3. Third, classical plays were presented on mostly bare stages, but the modern theatre enjoys numerous advances in theatrical design and technology. Stage directions show the contemporary playwright's awareness of the play on today's stage and the effects of scenery, furniture, lighting, costumes, sound, and special effects as story-telling communications to enhance the environment and characterization.
4. Fourth, early poetic plays used sweeping images and metaphors. Characters such as Romeo or Juliet expressed emotions in large, often flowery terms. With the twentieth century emphasis on "Realism," however, dialog became an artistic representation of language you might expect from your next door neighbor. Goodbye poetic dialog. Hello brief dialog from almost inarticulate characters. To replace poetic speech, playwrights give actors guides--stage directions!-- to the character’s brief dialog, such as: "Flatly." "Happily." "Smiling." "Holding back tears."
5. Fifth--and most importantly--today’s playwrights include stage directions because they are deeply influenced by new concepts of the human condition as explained by revolutionary thinkers such as Charles Darwin and Sigmund Freud. Darwin stressed the importance of environmental influences, a concept that playwrights adapted by describing the atmosphere of the characters’ living conditions, vitally important influences on action and characters. Equally significantly, Freud taught that there are hidden subconscious drives that influence our choices. Logically, then, playwrights begin to see the importance of the choice of clothing (fabric, style, colors) and surroundings (paintings on the wall, general decor, and so forth), which are subtle statements of each character's personality and social status. Chekhov, for example, calls for large over-stuffed chairs that seem to swallow the characters, a statement about their relationship (or lack thereof) to their environment. Stage directions therefore are highly important declarations about the play and characters."
Directing Actors: Creating Memorable Performances for Film & Television Directing film or television is a high-stakes oppucatiopn - 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 relationship
Directing 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.
Although one chapter is entitled 'Result Direction and Quick Fixes', the tools and suggestions of the book are now superficial band-aids or facile jargon; they are radical excursions into the perhaps most misunderstood artistic collaboration - that of director with actor.
Judith Weston brings to this book twenty years of professional acting and nine years of teaching Acting for Directors. Her students include academy Awards and Emmy winning directors, writers and producers of studio and independent feature films, television episodics and MOWs.
* The first book to directly address directors about working with actors
* Offers practical techniques in managing the director/actor relationship
Actors, Producers, and Directors: U.S. Department of Labor Bureau of Labor Statistics [ Nature of the Work | Working Conditions | Employment | Training, Other Qualifications, and Advancement | Job Outlook | Earnings | Related Occupations | Sources of Additional Information ]
Film, Stage and Television Director ( Radio or Television Director ) * [ Duties and Tasks Quick Facts Personal Requirements Related Industries Labour Market Related Jobs Earnings Related Courses Qualifications State Specific Information ]
backstagejobs.com Stage Directors Wanted * 2005 * After so many years of webbing I cannot change the nature of my webpages -- they are what they were from the start; notes, thoughts, points I make for myself for classes and productions. Do they have an independent existence? Maybe, somewhere in the future...
2007 An online course supplement * Film-North * Anatoly Antohin * eCitations
© 2006 by vtheatre.net. Permission to link to this site is granted.
Theatre DIRECTING amazon title