2008 class [ 332 ]
... see sub-directories pages : 1 * 2 * 3 * 4 * 5
see script pages!
... scene study (SS) in acting directories:
act.vtheatre.net/ss + scenes
total actor files ?
* directing, the art of leading dramatic performances on the stage or in films. The modern theatrical director is in complete charge of all the artistic aspects of a dramatic presentation.
It is the director's first task to discover a central mood or idea in the text of the play to be performed that will serve as a unifying determinant for the interpretation of individual scenes and characters. Then he or she must work out the movement of the actors on stage and the pacing of each line and scene. Finally, the director helps plan the lighting, scenery, sound effects, and musical accompaniment for the production. All the director's efforts are aimed at creating a fully unified aesthetic experience.
Broadway tickets at TickCo. Get the best available Mary Poppins tickets as well as tickets to Wicked and Disney's High School Musical tickets.
Drama: 3 Sisters
Final: The Importance of Being Earnest?
Use Scenes page @ METHOD Acting.
Summary"Directing concepts" for scenes: visual composition (floor plan + vertical level).
QuestionsNeed scenes? Go to Chekhov's one-act comedies!
NotesScene Class is taught by a series of workshops. It investigates the rhythmic, dialogic and rhetorical structure of scenes from classic plays.
One is the "actor direction," which aims specifically at one actor and consists of line readings and reactions ("Laughing," "Frowning," "In a flat voice," "Hesitantly," and so forth).
The second category is more broad "production information," which also can be called "stage direction." Here you find descriptions of the environment (furniture, props, lighting, costumes, and the like) as well as character relationships and descriptions (age, clothing, and so forth), scene and act divisions, entrance or exit information, sound effects, and more.
Both communicate playwrights’ visions—how their imagination heard and saw the play and characters.
The production information -- all those supposedly inhibiting stage directions--contains the "given circumstances" that Stanislavki felt must be aborbed by the actor to develop the character. Would he approve of taking a black Sharpie to stage directions? Not bloody likely.
1) The primary focus will be "scene work" - each scene will have one director and two actors (played by directors). Thus each student will have opportunity to see what it's like to act - what it's like to be directed - to experience the directing process from all sides.
2) You will be given the scenes (each director will act in 2 scenes).
3) I will be giving notes publicly so the work will be more open and instructional than in the acting and writing classes. We will work toward a performance of the scenes at the end of the process - finals.
4) I will provide the scenes unless you have an interest in directing a particular scene.
[ Scene Study (Yale)
First Year: Scene study in the first year concentrates on the realistic works of Chekhov, Ibsen, and others. Through rigorous attention to the text, students learn to identify and personalize a character’s driving need (objective) and to engage themselves (voice, body, mind, and spirit) in its active pursuit, informed by character-specific listening. At the end of the year, actors are introduced to Shakespeare and text work.
Second Year: Second-year work expands the focus on verse drama, with continued emphasis on understanding and performing the works of Shakespeare. Classroom projects include a solo piece based on a character from Shakespeare and a collaboratively created hour-long adaptation of one of his plays.
Third Year: Scene study begins with the study of Brecht and different approaches to action. Students tackle contemporary and twentieth-century material to discover how technique is adapted to the requirements of varying texts. ]
* "In scene study, we analyze a scene for character, emotion, and conflict. To help the actor listen and react honestly, we define a character’s “want”; find real moments, emotions, and transitions; use sensory work, physicality, and the “where” of the scene; and make strong, specific choices. Scene work is intensive and fun. We sometimes take several weeks on a single scene..."
or "This class is designed to be taken a number of times. It's also valuable to take the class with different instructors to get another point of view."
and "Theatre-based scene study is the essential training experience for all actors in film, stage and television work...You must have fundamental actor training and experience on stage or on camera for this class."
Well, you got it -- you will be doing "SS" for the rest of your life. If you are lucky. If you will become professional...
Scenes & Monologue Resources for Actors (classical & modern, drama & comedy, stage play & screenplay) *
Film Directing, Cinematic Motion: A Workshop for Staging Scenes by Steven Katz 0941188140
There are several scenes from the movies @ Film Directing: you should try some in Stage Direction class *
* Director's Notebook and Journal 20% (In preparation for the Final scene the director will prepare a journal/notebook)
It will include:
During the final weeks of the term formal class meetings will cease and directors will begin rehearsing "final scenes." This scene will be a five to eight minute scene with minimum of two or three actors. These scenes will be rehearsed a minimum of 15 hours and a rehearsal schedule will be submitted to the instructor. The instructor will attend at least one rehearsal (his discretion) and discuss progress with the director. The Final Scene will be presented during "reading week." Final Scenes will be open to the public.
Possible Titles/Scenes (in class, which one?):
-- list ( midterm + finals )
Modern ( your choice )
[ targets -- conflict, genre, characters, prop, set and so on. ]
Mikado (in class)
scenes -- Shepard, True West (two brothers) [ The Literary West: An Anthology of Western American Literature by Thomas J. Lyon; Oxford University Press, 1999 ]
[ list ]
NOH: SOTOBA KOMACHI By Kwanami Kiyotsugu TRANSLATED FROM THE JAPANESE BY ARTHUR WALEY (A Treasury of the Theatre Vol. 1 by John Gassner)
and -- THE TRAGICAL HISTORY OF DOCTOR FAUSTUS by Christopher Marlowe
-- PHAEDRA By Jean Racine TRANSLATED FROM THE FRENCH BY ROBERT HENDERSON
FAUST Part One By Johann Wolfgang von Goethe TRANSLATED FROM THE GERMAN BY C. F. MAC INTYRE
Makers of the Modern Theater by Barry Ulanov; McGraw-Hill, 1961 [questia]
comedy scripts Monty Python's Flying Circus
... [ "endings" -- continued from page Stage ]
Miss Julie (scenes with acting2 class)
There are two shrill rings on the bell; MISS JULIE jumps to her feet; JEAN changes his coat.
JEAN. His Lordship's home!--What if Kristin-- -- --
Goes to the speaking tube; knocks and listens.
MISS JULIE. Has he been to his desk yet?
JEAN. This is Jean, sir! [Listens. Note that the audience cannot hear what the COUNT says] Yes, sir! [Listens] Yes, sir! At once! [Listens] At once, sir! [Listens]--Yes, sir, in half an hour!
MISS JULIE [extremely anxious]. What did he say? For God's sake, what did he say?
JEAN. He wants his boots and his coffee in half an hour.
MISS JULIE. In half an hour, then!--Oh, I'm so tired; I can't bring myself to do anything, I can't repent, can't run away, can't stay, can't live--can't die! Help me, now! Order me, and I'll obey like a dog! Do me this last service, save my honour, save his name! You know what I ought to do, but can't, just will me to do it. Order me!
JEAN. I don't know why--but now I can't either--I don't understand--it's just as if this coat made me--I can't order you--and now, since his Lordship spoke to me--then--I can't explain it properly--but--oh, it's this damned lackey sitting on my back!-I believe if his lordship came down now and ordered me to cut my throat, I'd do it on the spot.
MISS JULIE. Then let's pretend you're him, and I'm you!--You acted so well just now, when you went down on your knees-then you were the aristocrat--or--have you never been to the theatre and seen a hypnotist? [Jean gestures assent] He says to his subject, 'Take this broom!', and he takes it; he says, 'Sweep!', and it sweeps*-- -- --
JEAN. But then the subject has to be asleep.
MISS JULIE [ecstatically]. I'm already asleep--it's as if the whole room were full of smoke; you look like an iron stove, dressed all in black with a top hat--your eyes glow like coals in a dying fire--and your face is a white spot, like ashes--[The sunlight has now fallen upon the floor, and is shining on JEAN]--it's so nice and warm-[She rubs her hands as though warming them before a fire]--and so light--and so peaceful!
JEAN [takes the razor and places it in her hand]. Here's the broom! Go now, while it's still fight--out to the barn--and. . . [Whispers in her ear
MISS JULIE [awake]. Thank you. Now I'm going to rest. But just tell me one thing--that the first may also receive the gift of grace. Tell me, even if you don't believe it.
JEAN. The first? No, I can't!--But wait--Miss Julie--now I know!--You're no longer among the first--you're among--the last.
MISS JULIE. That's true--I'm among the very last; I am the last. Oh!--But now I can't go--Tell me to go, just one more time!
JEAN. No, I can't now either. I can't!
MISS JULIE. And the first shall be last.
JEAN. Don't think, don't think! You're taking all my strength away too, and making me a coward--What's that? I thought the bell moved!--No! Shall we stop it with paper?-- --To be so afraid of a bell!--Yes, but it's not just a bell--there's somebody behind it-a hand sets it in motion--and something else sets that hand in motion--but if you stop your ears--just stop your ears! Yes, but then he'll go on ringing even louder--and keep on ringing until someone answers--and then it's too late! Then the police will come--and then. . .
Two loud rings on the bell.
JEAN [cringes, then straightens himself up]. It's horrible! But there is no other way!--Go! [MISS JULIE walks resolutely out through the door]
I use the plays I direct, directed or want to direct; Spring 2005 -- Oedipus, Fall -- mini-ChekhovON DIRECTING In his writings as a teacher, director, and theater critic, Harold Clurman often comes across as the most approachable of the formidable talents associated with the Group Theater and the many versions of "the Method," the American version of Stanislavsky's teaching. Written towards the end of his long career as one of the American theater's most successful directors, On Directing is a highly readable yet deeply insightful look at the job of a theatrical director. The Importance of Being Earnest: comedy and BioMechanics as style.
See Director Page for the list of scenes (assignments): drama, tragedy, comedy.
Bring all your paperwork in class.MASTER (pointing at Stanislavsky in the back of the classroom): What is he doing here?
ANATOLY: I am sorry, I use the terminology from the Stanislavsky system... and, I guess, he showed up to check on me...
MASTER: But I thought that this my course. It could be very confusing for the students. One Master, another Master...
ANATOLY: How about if we will call Mr. Stanislavsky -- Teacher?
MASTER: Teacher? I like that. Hi, Teacher! (Meyerhold waved to Stanislavsky and Teacher smiled back).
[ directing cheklists ]
SCENE I. Elsinore. A platform before the castle.[ Hamlet ]FRANCISCO at his post. Enter to him BERNARDOBERNARDOWho's there?FRANCISCO
Nay, answer me: stand, and unfold yourself.BERNARDO
Long live the king!FRANCISCO
You come most carefully upon your hour.BERNARDO
'Tis now struck twelve; get thee to bed, Francisco.FRANCISCO
For this relief much thanks: 'tis bitter cold,BERNARDO
And I am sick at heart.
Have you had quiet guard?FRANCISCO
Not a mouse stirring.BERNARDO
Well, good night.FRANCISCO
If you do meet Horatio and Marcellus,
The rivals of my watch, bid them make haste.
I think I hear them. Stand, ho! Who's there?HORATIO
Enter HORATIO and MARCELLUSFriends to this ground.MARCELLUS
And liegemen to the Dane.FRANCISCO
Give you good night.MARCELLUS
O, farewell, honest soldier:FRANCISCO
Who hath relieved you?
Bernardo has my place.[ Hamlet online scenes ]
Give you good night.
[ Also, scenes from Don Juan 2003 ]
projects: Oedipus 2005
new: Taming of the Shrew 2004
missing: film acting
MIKADO (comedy) [Exeunt all but Yum-Yum. Enter Nanki-Poo. NANK. Yum-Yum, at last we are alone! I have sought you night and day for three weeks, in the belief that your guardian was beheaded, and I find that you are about to be married to him this afternoon! YUM. Alas, yes! NANK. But you do not love him? YUM. Alas, no! NANK. Modified rapture! But why do you not refuse him? YUM. What good would that do? He's my guardian, and he wouldn't let me marry you! NANK. But I would wait until you were of age! YUM. You forget that in Japan girls do not arrive at years of discretion until they are fifty. NANK. True; from seventeen to forty-nine are considered years of indiscretion. YUM. Besides--a wandering minstrel, who plays a wind instrument outside tea-houses, is hardly a fitting husband for the ward of a Lord High Executioner. NANK. But---- (Aside.) Shall I tell her? Yes! She will not betray me! (Aloud.) What if it should prove that, after all, I am no musician? YUM. There! I was certain of it, directly I heard you play! NANK. What if it should prove that I am no other than the son of his Majesty the Mikado? YUM. The son of the Mikado! But why is your Highness disguised? And what has your Highness done? And will your Highness promise never to do it again? NANK. Some years ago I had the misfortune to captivate Katisha, an elderly lady of my father's Court. She misconstrued my customary affability into expressions of affection, and claimed me in marriage, under my father's law. My father, the Lucius Junius Brutus of his race, ordered me to marry her within a week, or perish ignominiously on the scaffold. That night I fled his Court, and, assuming the disguise of a Second Trombone, I joined the band in which you found me when I had the happiness of seeing you! (Approaching her.) YUM. (retreating). If you please, I think your Highness had better not come too near. The laws against flirting are excessively severe. NANK. But we are quite alone, and nobody can see us. YUM. Still, that don't make it right. To flirt is capital. NANK. It is capital! YUM. And we must obey the law. NANK. Deuce take the law! YUM. I wish it would, but it won't! NANK. If it were not for that, how happy we might be! YUM. Happy indeed! NANK. If it were not for the law, we should now be sitting side by side, like that. (Sits by her.) YUM. Instead of being obliged to sit half a mile off, like that. (Crosses and sits at other side of stage.) NANK. We should be gazing into each other's eyes, like that. (Gazing at her sentimentally.) YUM. Breathing sighs of unutterable love--like that. (Sighing and gazing lovingly at him.) NANK. With our arms round each other's waists, like that. (Embracing her.) YUM. Yes, if it wasn't for the law. NANK. If it wasn't for the law. YUM. As it is, of course we couldn't do anything of the kind. NANK. Not for worlds! YUM. Being engaged to Ko-Ko, you know! NANK. Being engaged to Ko-Ko!
[ in class -- 2006 ]
[ ... Beckett. Godot ]
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 [ actor ]