Screen @ Directing Theatre -- StageMatrix: Film

... The idea of introducing film/video directing within Theatre directing class didn't work. No room for it -- go to directing.filmplus.org. The nature of Stage and Screen are too different for intro course to cover.

... 2009: CALIGARI -- from movie to stage

What do I want from this show [production]?

Non-verbal spectacle.

Visual = Languages of Theatre

Theatricality

meyerhold.us

group/stagematrix

images

... screen semiotics :

Film Directing 101 (part 2. Spring 2006 class) * The Images (The BM Album) are still not all in place! [new from vTheatre -- GeoAlaska, links to my graphic files are in the list mini-pages]

* This page (chapter) must be linked to Space, Time, Chronotope and other Theatre Theory pages.

Script Analysis Directory & DramLit

Links

Featured Pages: Film Directing

Meyer sum

Summary

+ HamletDreams 2001 (scenes) *

NOTES: biblio, references & ect.

Acting:

Names of Principle Actors and Characters:

Supporting Actors & Characters:

Notes

1. Description:
2. An excerpt:
3. Table of contents:
4. Review:

new: featured actors (bottom)

* Vsevolod Meyerhold by Jonathan Pitches; Routledge, 2003 :

MONTAGE IN THE THEATRE (75)

• An episodic structure to the overall production.
• Carefully directed juxtaposing of the episodes to maximise the 'explosive' effect.
• Surprises, collisions, incongruities.
• Pronounced and varying rhythms emerging from the overall montage.
• A thinking audience, putting together the meaning for itself.
• The possibility of two or more parallel storylines.
• A clear sense of theatricality, of being aware of the joins in the montage.

[ Chaplin & Eisenstein + montage ]

Secrets of Screen Acting by John Stamp, Patrick Tucker; Routledge, 2003 - Introduction - Chapter 1: Screen Versus Stage - Chapter 2: Film Versus Television - Chapter 3: The Frame - Chapter 4: The Camera - Chapter 5: Reactions and Business - Chapter 6: Sound and Vocal Levels - Chapter 7: Typecasting - Chapter 8: Acting - Chapter 9: Auditions - Chapter 10: Rehearsals and Technicals - Chapter 11: Directing Actors for the Screen - Chapter 12: Announcers (And the Art of Being Interviewed) - Chapter 13: The Shoot - Chapter 14: The Editor and Editing - Epilogue - Acting Exercises

2006 Fall: Film Directing: script breakdown 10%
the production team 5%
directing terminology 5%
camera 10%
scripting 5%
editing 5%
class participation 10%
directing 50%

Storyboarding: Please, read acting for the camera pages in advance: Actors in Film Directing, Film in BM and Camera in Method Acting -- before we have video-sessions in class! You have to have your monologues shots-broken (Actor's Text).

FILM PAGE

images :

2007 - 2008 - 2009

Use film directing webpages for THR331 Fundamentals of Directing @ Filmmaking 101

"Staging" (mise-en-scene) on stage and on the set...

Screen : Matrix & Film Acting

As we shift from the nineteenth century into the twentieth century, theatre begins to lose its position as a popular art form (it is subsequently replace by film and television).
Theatre became a more intimate and elite experience and the popular appeal was limited.

3.12.04. Folks, this is a new page -- and write in the new texts only when they are new to me. Who knows how long it will take for "acting with the camera" to mature. I still try to figure out what subjects and issues belonng to this (stage directing) directory, which -- to film directing, which -- to method acting pages, and so on.
NTL, the new six pages on film acting (see the menu on the right) will be developed by the end of this year. Anatoly

I will try to keep the order of the film acting pages: Acting I, II and III classes (one week, two and four of workshops). Film Directing 101: Actors page is the gateway. This page in stage directing is the one to read before read anything about directing camera.
In most film textbooks acting is a part of "mise-en-scene" -- this is confusing. In stage directing it's not. I rather stay with the theatre theory. Movement of actors (blocking) is only a part of acting, sort of "given surcumstences" (framing the reactions to other characters, set, light and etc.)
[ for now -- notes only: correlation of stage directions (9 squares) and screen directions.
Axis and vector (see BM II pages): tension, action, conflict.
Action and re-action on stage and screen. The idea of "cut"...
Levels (voice, position) and framing (distance to the camera). ]
* Stage event and screen event * Mass of event. * Gravity of event * Intensity * Inertia * The Event Theory * (see Dictionary for terms and definitions).

Five new pages on Film Acting: Screen (331 Directing), Actors (Filmmaking 101), Video (biomechanics.vtheatre.net), Film (BM for Camera), Camera (Method Acting) * (2004) * Links? To shot, cut, camera pages? They need to be ajusted for "acting connections" -- all my ebooks are for actors, but only now it becomes abvious. I am tempted to write a minifesto! 'The Acting Age' -- only now we arrived to "the whole world is a stage": no wonder that actors became celebrities and heroes. "The Society of Spectacle" asks for everybody to learn acting. Everything is transparent and therefore public...
Alas, this is for theatre theory pages... (see The Book of Spectator and Virtual Theatre, Theatre of One).
Camera will teach you how to act on stage!
... Check out POV: Language of Angels (my nonfiction).

Film and theatre terms need to merge, acting asks for it (not camera). Screen is a different medium, but uses the same material -- ACTOR.

Good actors are the ones who know how to re-ACT (very flexible, discipline and constant improv). Film shoot is extremely limiting for actor, one must develop hyper-sensitive ability to reflect the changes.

NB. I don't think that majority of actors understand the very idea of montage (or even Kuleshov Effect). What we can do if they never heard of intertextuality! Talent? Talent my foot! No wonder that computor graphics and aminals replaced humans in commercials!

...

[ more later ]

PS

Again, consider camera as your partner (the stage "golden triangle" principle works here as well: actor1 - audience -actor2). Since the shooting is a segmentation a priori, change the technique going from WS/LS to CUs. Remember the fucos exerc. -- when camera is close, forget about everything, but face -- and think how could you extress it all in one place only. Redesign your Actor's Text.