... We are coming from the Age of Actor's Theatre. From Antiguity to Shakespeare -- Playwright's Theatre. Now -- Director's Theatre!

2007: blocking * textbook * google.com/group/directing *

Hamlet in class (second scene selection -- Ophelia, 3 - Queen ("Q's Closet"), 4 -- the Ending?

woyzeck by george buchner and selection from A Treasury of the Theatre Vol. 1 by John Gassner; Simon and Schuster, 1951 - The Classic Age - Agamemnon - Sophocles - Euripides - Aristophanes - Plautus - THE MENAECHMI - SCENE IV. - SCENE II. - SCENE V. - SCENE II. - ACT IV. SCENE I. - SCENE III. - SCENE IV. - SCENE V. - ACT V. SCENE I. - SCENE IV. - SCENE VI. - SCENE VII. - The Brothers - SCENE II. - SCENE II. - SCENE II. - SCENE IV. - SCENE V. - SCENE III. - SCENE IV. - SCENE VI. - ACT V. SCENE I. - SCENE III. - SCENE IV. - SCENE VIII. - SCENE IX. - The Oriental Theatre - Kalidasa - ACT II - PRELUDE TO ACT III. - ACT III. - PRELUDE TO ACT IV. - ACT V. - PRELUDE TO ACT VI. - ACT VI. - ACT VII. - Kwanami Kiyotsugu - The Medieval Drama - The Second Shepherds' Play: A MODERNIZED VERSION BY JOHN GASSNER - SCENE III. - SCENE VI. - SCENE VII. - SCENE VIII. - Everyman - The Renaissance - SCENE IV. - SCENE V. - SCENE VII. - SCENE VIII. - SCENE X. - SCENE XI. - SCENE XIII. - SCENE XVI. - SCENE XV. - William Shakespeare - SCENE IV. - SCENE V. - ACT II. SCENE I. - SCENE II. - ACT III. SCENE I. - SCENE II. - SCENE IV. - ACT IV. SCENE I. - SCENE II. - SCENE IV. - SCENE V. - SCENE VI. - ACT V. SCENE I. - Volpone: or The Fox - SCENE II. - ACT III. SCENE I. - SCENE II. - ACT IV. SCENE I. - SCENE II. - ACT V. SCENE I. - SCENE III. - SCENE IV. - SCENE VI. - SCENE VII. - John Webster - THE DUCHESS OF MALFI - SCENE II. - SCENE IV. - SCENE V. - ACT III. SCENE I. - SCENE II. - SCENE V. - ACT IV. SCENE I. - SCENE II. - SCENE III. - SCENE V. - Lope De Vega - ACT II. - The Seventeenth and Eighteenth Centuries - ACT II. SCENE I. - SCENE IV. - SCENE VI. - SCENE II. - SCENE V. - ACT IV. SCENE I. - SCENE II. - SCENE IV. - SCENE II. - SCENE III. - SCENE V. - SCENE VIII. - Jean Racine - ACT II. - ACT IV. - ACT V. - William Congreve - ACT II. SCENE I. - SCENE II. - ACT III. SCENE I. - ACT IV. SCENE I. - SCENE II. - ACT V. SCENE I. - SCENE III. - Richard Brinsley Sheridan - SCENE II. - SCENE II. - SCENE II. - SCENE III. - ACT IV. SCENE I. - SCENE II. - ACT V. SCENE I. - SCENE II. - SCENE III. - EPILOGUE - The Romantic and Earl Realistic Drama - Faust - Alfred De Musset: (1810-1857) - SCENE IV. - SCENE V. - SCENE II. - SCENE IV. - SCENE V. - ACT III. SCENE I. - SCENE III. - SCENE IV. - SCENE VII. - SCENE VIII - Georg Buchner - SCENE IV. - SCENE V. - SCENE VI. - ACT II. SCENE II. - SCENE II. - SCENE IV. - SCENE VI. - SCENE VII. - SCENE II. - SCENE V. - SCENE VI. - SCENE VII. - SCENE VIII. - ACT IV. SCENE I. - SCENE IV. - SCENE VI. - SCENE IX. - Nikolai Gogol: (1809-1852) - SCENE III. - SCENE VI. - SCENE II. - SCENE III. - SCENE VII. - SCENE IX. - ACT III. SCENE I. - SCENE III. - SCENE V. - SCENE VII. - SCENE IX. - SCENE XI. - SCENE II. - SCENE IV. - SCENE VI. - SCENE VIII. - SCENE X. - SCENE XI. - SCENE XII. - SCENE XIV. - SCENE XVI. - SCENE II. - SCENE VII. - SCENE VIII. - LAST SCENE. - Friedrich Hebbel - SCENE III. - SCENE IV. - SCENE V. - SCENE VI. - SCENE VII. - ACT II. SCENE I. - SCENE IV. - SCENE VI - SCENE III. - SCENE V. - SCENE VII. - SCENE IX. - SCENE X. - Ivan Turgenev - A MONTH IN THE COUNTRY - ACT III. - ACT IV. - Epilogue - A REPRESENTATIVE LIST OF PLAYS TO 1875

A Matter of Style


Musical and Opera

Director's Preporation (conceptualization and pre-production period)

scenes from "Miss Julie" in class (07) -- see bottom

... my comments :

Do the folks (peasants) really appear? Are they real? Miss Julie's imagination? Conceptual Idea? (Natural power of life). WEDDING ceremony?

How to format it?

First -- Jean & Julie hearing the song!

Is Christin watching them?

Re-enterance after sex -- contrast with "flirting" (romantic) prelude --

... "Two faces" for both. "Masks and Faces" tolic.

... Sound plot + Lighting design [ ... themes, symbols, images, signs. ]

The Count's presence (dynamic) -- boots, bell + ... When does he arrive? The moment!

Does she know that it's her death sentence? Both?

Christin waits for it (how to show?)


... [ continue on the page SS Scene Study ]

... post to the directing group!

Part 3. stage

1 > 2 > STAGING > 4 > 5
[ textbook -- part 4. Style must be read with part 7. The Whole Picture ]

stage page @ biomechanics.vtheatre.net

Do the basic dramatic analysis: exposition, climax, resolution (see 200X Aesthetics for definitions).

Do the character analysis. The same: watch for changes.

Draw the floor plan.

* Queen's Closet (Polonius' death)

3 characters

Focal point (bed)

Blocking ideas -- mise-en-scene


























[ print it out ]

Use for the above Hamlet scene:

Bring to class!

[ "Other Shakespeare" -- ]

---- STAGING CROWD scenes:

Chorus - Oedipus

... First and Last Scenes

Hamlet -- Finale

... Staging Death


2007 An online course supplement * Film-North * Anatoly Antohin * eCitations rate
2006 by vtheatre.net. Permission to link to this site is granted.

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[ "The Fall" scene -- turning point ]

Miss Julie -- Dance & Pantomime (Love making off stage). Does Kristin feel it and ... appears?

... JEAN. You know, you're strange.

MISS JULIE. Perhaps. But then so are you.--Besides, everything's strange. Life, people, everything's a scum that drifts, drifts on across the water, until it sinks, sinks. There's a dream I have from time to time; I'm reminded of it now.--I'm sitting on top of a pillar that I've climbed, and can see no way of getting down; when I look down, I get dizzy, but down I must, though I haven't the courage to jump; I can't stay where I am and I long to fall; but I don't; and yet I'll get no peace until I come down, no rest until I come down, down to the ground, and were I to reach the ground I'd want to bury myself in the earth. . . Have you ever felt anything like that?

JEAN. No! I usually dream I'm lying under a tall tree in a dark wood. I want to climb up, up to the top, and look around over the bright landscape where the sun is shining, plunder the bird's nest up there where the gold eggs lie. I climb and climb, but the trunk is so thick, and so slippery, and it's so far to the first branch. But I know that if I could only reach that first branch I'd get to the top like on a ladder. I haven't reached it yet, but I will do one day, even if it's just a dream.

MISS JULIE. Here I am swapping dreams with you. Come on! Just into the park! [She offers him her arm, and they go

JEAN. If we sleep on nine Midsummer flowers tonight, Miss Julie, our dreams will come true.*

JULIE and JEAN turn in the doorway. JEAN puts a hand to one of his eyes.

MISS JULIE. Something in your eye? Let me see.

JEAN. It's nothing--only a speck of dust--it'll be all right.

MISS JULIE. My sleeve must have caught you; sit down and I'll help you. [She takes him by the arm and sits him down; takes his head and pushes it backwards; with the tip of her handkerchief she tries to remove the speck of dust] Sit still now; absolutely still!--[Slaps his hand] There! Will you obey me!--I do believe you're trembling, a big strong fellow like you! [Feels his upper arm] With arms like that!

JEAN [warning her]. Miss Julie!

KRISTIN has woken up, walks heavy with sleep to the right, to go to bed.

MISS JULIE. Yes, Monsieur Jean?

JEAN. Attention! Je ne suis qu'un homme!*

MISS JULIE. Will you sit still!--There! Now it's gone. Kiss my hand, and say thank you!

JEAN [gets up]. Miss Julie, listen to me.--Kristin's gone to bed now.--Will you listen to me!

MISS JULIE. Kiss my hand first.

JEAN. Listen to me!

MISS JULIE. Kiss my hand first!

JEAN. All right. But blame yourself.

MISS JULIE. For what?

JEAN. For what? Are you a child? At twenty-five? Don't you know it's dangerous to play with fire?

MISS JULIE. Not for me; I'm insured.

JEAN [boldly]. No, you're not. And even if you are, there's more inflammable material around.

MISS JULIE. Meaning you?

JEAN. Yes! Not because I'm me, but because I'm a young man--

MISS JULIE. With a prepossessing appearance--what incredible conceit! A Don Juan, perhaps? Or a Joseph! Yes, upon my soul, I do believe you're a Joseph!*

JEAN. Do you?

MISS JULIE. I almost fear it!

JEAN boldly forward and tries to take her round the waist to kiss her.

MISS JULIE [slaps him]. Cheek!

JEAN. Are you joking or serious?

MISS JULIE. Serious!

JEAN. Then you were serious just now, too. You play far too seriously--that's dangerous. Now I'm tired of this game, and with your permission I'll get back to my work. The Count'll be needing his boots, and it's long past midnight.

MISS JULIE. Put those boots down!

JEAN. No. They're one of my duties, which don't include being your plaything. And I never shall be. I hold myself too good for that.

MISS JULIE. Aren't we the proud one!

JEAN. In some respects, yes; in others, no.

MISS JULIE. Have you ever been in love?

JEAN. That's not a word we use, though I've fancied lots of girls, and was once quite sick when I couldn't get the one I wanted. Sick, you know, like those princes in the Arabian Nights, who couldn't eat or drink for love.

MISS JULIE. Who was she? [JEAN remains silent] Who was she?

JEAN. You can't make me tell you.

MISS JULIE. Suppose I ask you as an equal, as a--friend? Who was she?

JEAN. You!

MISS JULIE [sits]. How priceless!

JEAN. Yes, if you like. It was ridiculous.--You see, this is the story I didn't want to tell you just now, but now I'm going to. Do you know what the world looks like from down below?--No, you don't. Like hawks and falcons, whose backs we seldom see because they mostly soar on high. I lived in a hovel with seven brothers and sisters, and a pig out in the grey fields, where there wasn't a single tree. But from the window I could see the wall of his Lordship's park, overhung with apple trees. It was the garden of paradise, surrounded by angry angels who watched over it with flaming swords. All the same, along with the other boys I found a way to the tree of life*--now you despise me--

MISS JULIE. Oh! All boys steal apples.

JEAN. You say that now, but you still despise me. Never mind. One day I went into this paradise, along with my mother, to weed the onion beds. Alongside this patch of garden there was a Turkish pavilion,* shaded by jasmines, and overgrown with honeysuckle. I'd never seen such a beautiful building, and had no idea what it was for. People used to go in and come out, and one day the door was left ajar. I stole in. The walls were all covered with portraits of kings and emperors, and over the windows there were red curtains with tassles on them--now you know what I'm talking about. I [he breaks off a spray of lilac and holds it under MISS JULIE's nose], I'd never been inside the Hall, never seen anything except the church--but this was more beautiful; and wherever my thoughts strayed, they always came back--there. Gradually I was overcome by a longing just once to experience the full delight of--enfin,* I crept inside, saw, and marvelled. But then I heard someone coming! There was only one way out for the gentry, but for me there was another, and I had no choice but to take it.

MISS JULIE, who has taken the lilac blossom, lets it fall on the table.

JEAN. Then I began to run, bursting through the raspberry bushes, and across a strawberry patch, until I arrived at the rose-garden. There I saw a pink dress and a pair of white stockings--it was you. I lay down under a pile of weeds, under--can you imagine it?-under thistles which pricked me, and wet earth that stank, and I thought: if it's true that a thief can enter heaven and dwell with the angels, then it's strange that a labourer's child here on God's earth cannot enter the Hall park and play with the Count's daughter.

MISS JULIE [sentimentally]. Do you suppose all poor children feel the way you did on that occasion?

JEAN [at first hesitant, then with conviction]. If all poor--yes--of course. Of course!

MISS JULIE. It must be a tremendous misfortune to be poor.

JEAN [with deep pain, and powerful emotion]. Oh, Miss Julie! Oh!--A dog may lie on the Countess's sofa, a horse may have its nose stroked by a young lady's hand, but a common drudge!--[He changes tack ] Oh, all right, now and then a man has what it takes to hoist himself up in the world, but how often is that?--Do you know what I did then, though?--I ran down into the millstream with all my clothes on, got dragged out, and was given a thrashing. But the following Sunday, when father and all the others went to call on my grandmother, I saw to it that I was left at home. Then I washed myself in soap and warm water, put on my best clothes, and went to church--to see you. And when I'd seen you I returned home, determined to die. But I wanted to die beautifully and pleasantly, without pain. I remembered it was dangerous to sleep under an elder bush. We had a big one, just then in flower. I stripped it of everything it held, and made up a bed for myself in the oat-bin. Have you ever noticed how smooth oats are; soft to the touch like human skin?-- -- --Anyway, I shut the lid, closed my eyes, and fell asleep. When they woke me up I really was very ill. But as you see, I didn't die. I don't know what I was after, really. There was no hope of winning you, of course, but you stood for how hopeless it was ever to escape from the class in which I was born.

MISS JULIE. You're a charming storyteller, you know. Did you go to school?

JEAN. A bit. But I've read lots of novels and been to the theatre. Besides, I've heard posh people talk. That's what's taught me most.

MISS JULIE. Do you listen to what we say?

JEAN. Of course! And I've heard plenty too, sitting on the coachman's box or rowing the boat. Once I heard you and a girlfriend. . .

MISS JULIE. Indeed?--What did you hear?

JEAN. Really, it wouldn't bear repeating. All the same, I was a bit surprised. I couldn't understand where you'd learned all those words. Maybe at bottom there isn't such a big difference as they say there is between people and--well, people.

MISS JULIE. Shame on you! We don't behave like you when we're engaged.

JEAN [stares at her]. Is that so?--It's no good playing the innocent with me, you know. . .

MISS JULIE. That man was a swine. And I loved him!

JEAN. That's what you always say--afterwards.


JEAN. Always, yes, I'd say so. I've heard the expression several times before, on similar occasions.

MISS JULIE. What occasions?

JEAN. Like the one in question. The last time-- -- --

MISS JULIE [gets up]. Be quiet! I don't wish to hear any more.

JEAN. She didn't wish to, either--it's strange. Well, in that case, have I your permission to go to bed?

MISS JULIE [softly]. To bed! On Midsummer Night?

JEAN. Yes! Dancing with that lot up there doesn't exactly amuse me.

MISS JULIE. Get the key to the boat and row me out on the lake; I want to see the sunrise.

JEAN. Is that wise?

MISS JULIE. You sound as though you're worried about your reputation.

JEAN. Why shouldn't I be? I don't want to become a laughingstock nor be dismissed without a reference, not now that I'm beginning to get on in the world. And I've a certain duty to Kristin, I believe.

MISS JULIE. Oh, so it's Kristin now-- -- --

JEAN. Yes, but you too.--Take my advice, and go back up to bed.

MISS JULIE. Me? Take your advice?

JEAN. Just this once; for your own sake! I beg you! It's late, you're tired and therefore drunk and hot-headed. Go to bed! Besides--if my ears don't deceive me--they're coming here to look for me. And if they find us here together, you're lost!

Voices singing in unison are heard approaching.

There came two women from out the wood
Tridiridi-ralla tridiridi-ra.
One with her feet both bare and cold

And money it seems was all their game
Tridiridi-ralla tridiridi-ra.
Though neither had a sou to her name.

The bridal wreath I'll give to you,
Tridiridi-ralla tridiridi-ra.
But to another I'll be true.

MISS JULIE. I know these people, and I love them, just as they love me. Let them come, you'll see!

JEAN. No, Miss Julie, they don't love you. They eat your food, but afterwards they spit. Believe me! Listen to them, just listen to what they're singing!--No, don't!

MISS JULIE [listens]. What are they singing?

JEAN. It's an obscene song! About you and me!

MISS JULIE. How horrible! Oh, how two-faced!--

JEAN. That's the rabble for you, they're all cowards! You can't fight them. Better run away.

MISS JULIE. Run away? But where? We can't get out! Or go in to Kristin!

JEAN. Into my room, then? Necessity knows no law; and you can trust me, I'm your true, loyal, and respectful friend.

MISS JULIE. But suppose--suppose they were to look for you there?

JEAN. I'll bolt the door, and if anyone tries to break in, I'll shoot!-Come! [Kneeling] Come on!

MISS JULIE [significantly]. You promise-- -- --

JEAN. I swear!

[ MISS JULIE exits rapidly stage right. JEAN quickly after her. ]

The peasants enter, dressed in their best clothes, with flowers in their hats; a fiddler at their head; a cask of small beer and a small keg of acquavit, garlanded with leaves, are placed on the table; glasses are produced. They drink. Then a circle is formed and they sing and dance the dancing game, 'There came two women from out the wood'. When this is finished, they exit again, still singing.

MISS JULIE enters alone; sees the havoc in the kitchen; clasps her hands together; then takes out a powder puff and powders her face.

JEAN [enters, excited]. There, you see! And heard! Do you think it's possible to stay here now?

MISS JULIE. No. I don't. But what can we do?


Compare with the exposition and resolution scenes --

Compositional (dramatic) triangle and the same with each character [ Strindberg's case ]

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