* 5. SHOW
... Hamlet2.0 : Rosencrantz and Guildenstern are Dead :
Analysis -- 4.11.08 class : presentational (epic) theatre --
Player and Tragedians ("new" chorus).
Presentational Theatre in Shakespeare (Hamlet)
Stanislavsky: «What exercises resembling solfeggi are needed by him? What scales, what arpeggi for development of creative feeling and experience are required by the actor? They must be given numbers... for systematic exercises in the school and at home. All books and works of the theatre are silent on this score. There is no practical textbook». ( My Life in Art, 166-67)
Broadway tickets at TickCo. Get the best available Mary Poppins tickets as well as tickets to Wicked and Disney's High School Musical tickets.
Featured Pages: Film Directing -- directing.filmplus.org
This is the most ridiculous act of the book -- how on earth I can even dream telling you about staging "Hamlet"? Or directing any other play? It has to be your show as I stated already -- you have to create it, my friend.
film directing * Spring 2003 Don Juan (I direct and will use the webpages in class, in addition to Hamlet); check Biomechanics (Acting II) * Brecht Theatre
* diggo [ new ]
SummarySHOW: 1. to present as a public spectacle : 2. PERFORM
Questions"That we live in a dramatic age is obvious everywhere, except in the theatre." Conor A. Farrington, Irish Playwright (textbook, p. 1) -- What as sad picture to watch the activists-stars, the celelbrities, "protesting war."
NotesLast Note: learn on yours, or better, others' mistakes. This is why I keep my process (open rehearsals) visible for the cyber-directors. Consider each show you see as your show, stage in your mind every play you read, cast in your "wish list" titles every actor you watch... Artist is the "24/7/365 machine"!
SOLILOQUY - Lines delivered by an actor on stage as if to her/himself... This is how I feel about directing...
"Theatre forms congregation. Look at plan of Moscow and cities! Police, Prison, Theatre, together. Russian way of life. Best Soviet theatres replaced the church." Smelyansky
The Possessed 2003
The play was a great success, but the audience was a disaster. Oscar Wilde
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 ]
In 2002, actors, producers, and directors held about 139,000 jobs, primarily in motion picture and video, performing arts, and broadcast industries. Because many others were between jobs, the total number of actors, producers, and directors available for work was higher. Employment in the theater, and other performing arts companies, is cyclical—higher in the fall and spring seasons—and concentrated in New York and other major cities with large commercial houses for musicals and touring productions. Also, many cities support established professional regional theaters that operate on a seasonal or year-round basis. About one fourth of actors, producers, and directors are self-employed.
Actors, producers, and directors may find work in summer festivals, on cruise lines, and in theme parks. Many smaller, nonprofit professional companies, such as repertory companies, dinner theaters, and theaters affiliated with drama schools, acting conservatories, and universities, provide employment opportunities for local amateur talent and professional entertainers. Auditions typically are held in New York for many productions across the country and for shows that go on the road.
Employment in motion pictures and in films for television is centered in New York and Hollywood. However, small studios are located throughout the country. Many films are shot on location and may employ local professional and nonprofessional actors. In television, opportunities are concentrated in the network centers of New York and Los Angeles, but cable television services and local television stations around the country also employ many actors, producers, and directors. *
The Hippocratic Oath (Fifth century, B.C.)
"I swear by Apollo the physician, by Aesculapius, and Health, and All-heal, and all the gods and goddesses, that according to my ability and my judgment, I will keep this Oath and this stipulation--to reckon him who taught me this Art equally dear to me as my parents, to share my substance with him, and relieve his necessities if required; to look upon his offspring in the same footing as my own brothers, and to teach them this Art, if they wish to learn it, without fee or stipulation; and that by precept, lecture, and every mode of instruction, I will impart a knowledge of the Art to my own sons, and of my teachers, and to disciples bound by a stipulation and oath according to the law of medicine, but to none others.
I will follow that system or regimen which, according to my ability and judgment, I consider for the benefit of my patients, and abstain from whatever is deleterious and mischievous.
I will give no deadly medicine to any one if asked, nor suggest any such counsel; and in like manner I will not give to a woman a pessary to produce abortion.
With purity and with holiness I will pass my life and practice my Art. I will not cut persons labouring under the stone, but will leave this to be done by men who are practitioners of this work. Into whatever houses I enter, I will go into them for the benefit of the sick, and will abstain from every voluntary act of mischief and corruption; and, further, from the seduction of females or males, of freemen and slaves.
Whatever, in connection with my professional service, or not in connection with it, I see or hear, in the life of men, which ought not to be spoken of abroad, I will not divulge, as reckoning that all such should be kept secret.
While I continue to keep this Oath unviolated, may it be granted to me to enjoy life and the practice of the Art, respected by all men, in all times. But should I trespass and violate this Oath, may the reverse be my lot."
[ applies to any artist, including DIRECTOR -- "Holy Theatre" ]
Theatre Books Master Page *
4.2.07. Too many topics are left for the last part: You and Style, Theory, Showcases...
"Your style" is your shows.
Theory is a mirror to look at yourself.
... Presentational Theatre in focus.
Directing is silent. Directing is invisible. When you hear or see it, I am at fault. If director is omnepresent, we should see him at all. What what for? Director must die. In his actors, in light and furry of the drama. Good director should rest in peace.
Of course, we have to cover comedy and drama, but Hamlet is used throughout the whole semester. So, you can see the scenes for class and homework from 3 Sisters, The Importance of Being Earnest and etc., but in directing class I try to stage with the genre of tragedy (there the real theatre began). Read Aristotle or Nietzsche to see why and how important to understand the so-called "dramatic poetry"!Direct experience -- on the job training -- is the oldest method, having been the only way anyone could become an actor prior to the twentieth century. Yet even today there are some people who simply go out and get themselves cast, then slowly move up the ranks, learning as they go. This choice presupposes a fair amount of latent talent--something upon which to build. In the theatre the direct experience approach may begin at a local community theatre where mostly amateur actors are cast less for their skills than their willingness to work for free. For film one can often get cast with little training and experience in student films at a local university--if you're not a student there it can be an advantage because they won't have to work around your classes and you'll be a new face, always a plus. Usually your only compensation, the oft seen "meals and copy provided," will be a videotaped copy of the film which you can use to help get more work.
Most of the pages on Hamlet are in production notes "HamletDreams" directory. Story and plot, scenes, character analysis and so on.
In The Empty Space Peter Brook talks about four types of theatre:
1. The Deadly Theatre -- Bad Theatre and deadly spectator
2. The Holy Theatre: Invisible -- Man -- Visible
3. The Rough Theatre -- Popular
4. The Immediate Theatre -- performance: actor/subject/audience + rehearsal: actor/subject/director
I would like to speak about The Holy Theatre, but this is a textbook and I have to stay with the Immediate Theatre.KING CLAUDIUS puts LAERTES' hand into HAMLET's HAMLET Give me your pardon, sir: I've done you wrong; But pardon't, as you are a gentleman. This presence knows, And you must needs have heard, how I am punish'd With sore distraction. What I have done, That might your nature, honour and exception Roughly awake, I here proclaim was madness. Was't Hamlet wrong'd Laertes? Never Hamlet: If Hamlet from himself be ta'en away, And when he's not himself does wrong Laertes, Then Hamlet does it not, Hamlet denies it. Who does it, then? His madness: if't be so, Hamlet is of the faction that is wrong'd; His madness is poor Hamlet's enemy. Sir, in this audience, Let my disclaiming from a purposed evil Free me so far in your most generous thoughts, That I have shot mine arrow o'er the house, And hurt my brother. LAERTES I am satisfied in nature, Whose motive, in this case, should stir me most To my revenge: but in my terms of honour I stand aloof; and will no reconcilement, Till by some elder masters, of known honour, I have a voice and precedent of peace, To keep my name ungored. But till that time, I do receive your offer'd love like love, And will not wrong it.
I left the last (5th) part for the practical applications of directing theories. Use HamletDreams (or any other showcases in shows.vtheatre.net) for your specific needs. Each play, each actor, each show is unique. There is no just "comedy" or "drama"; the genre on stage has it own intonation (remember, the "style" part?) -- there is no generic "public"; it's different every night. You have to leave your show "under construction" = leave some room for actors to tailor it every night. Show must "breath"....
Read again part IV (Public), because you have to find your own dance with your public. Strangely enough, we end where we started -- vision, concept, message.... After all, the show is a form of your dialogue with your contemporaries. A thought between many, live. There is no such a thing as mindless entertainment, only good and bad theatre. Read Peter Brook's "Empty Space" -- if you can't have this invisible talk with your public, you have no show.
I always say to my students, remember about the "after-show" life of the show! The show must live in their memory and imagination for the rest of their lives. This is the right result of the spectacle....
I hope by now you understand the idea of spectactle, the way Aristotle meant it. It could be minimalistic (that is what you will have while learning -- The Poor Theatre), it could be simple, but spectacle is the last dramatic component (6 Principles), which concludes the whole process. And you, the director, are in charge of it!... Let me finish my theatre love stories.* Spring 2005 assignments:
Do you love theatre? "Oh, God! I love acting!"
In my books it's impossible to love directing without being in love with the small things: this very line in the script, or the way your actor moves from the table to the sofa, or ... you know, what I mean.
Wedding -- class project (finals)
last month (April) -- 8 ponts (classes), last week = run-through
Public presentation -- lab space, after the THR221 "The Bear"
[ * the bridge between film & stage directing: read The Book of Spectator * ]* Fall 2005 -- Four Farces & One funeral chekhov.05
projects: Oedipus 2005
new: Taming of the Shrew 2004
missing: film acting
@2002-2005 film-north *
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Theatre on the Web:
The Production Notebooks: Theatre in Process (Theatre in Process, Vol 1)
The Director's Vision: Play Direction from Analysis to Production This dynamic, practical text focuses equally on the arts of interpretation and problem-solving. The author leads students through short, lucid chapters to develop an organized, step-by-step methodology from play analysis through casting, rehearsal, and performance. Modernism to Realism on the Soviet Stage : Tairov - Vakhtangov - Okhlopkov (Directors in Perspectives) 0521247632
From Belasco to Brook: Representative Directors of the English-Speaking Stage (Contributions in Drama and Theatre Studies) 0313276625
2007 An online course supplement * Film-North * Anatoly Antohin * eCitations
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