After 2009 -- Total Director Files
Theatre Studies as opposed to a drama school? "A university degree possesses more market value than a professional theatre qualification from an actor-training institution precisely because university students have the opportunity to develop a wide range of skills." (D’cruz 1996, 36)
Broadway tickets at TickCo. Get the best available Mary Poppins tickets as well as tickets to Wicked and Disney's High School Musical tickets.
Acting in Person and in StyleSubscribe to my Open Class @ 3sisters
Actors on ActingSubscribe to my Open Class @ 12night
The Director's Eye Subscribe to my Open Class @ Directing!
How to Read a FilmSubscribe to Open Class @ 200x Aesthetics
Featured Pages: Film Directing
I am tired of hyper-linking everything; go to Classes Directory and/or to Theatre UAF and see for yourself what I teach, what is offered and what goes after what.
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).
See other "students" pages in different directories!
SummaryThe 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" ]
QuestionsSpring 2003: write Don Juan Review!
NotesEvaluation a Show (mini-form):
Characters: (list ones your remember)
Conflict (External and Internal):
Plot: (Linear * Epic * Cyclic * Plotless)
Stylistic Features (Concept):
Evaluation of Directing:
Acting:Names of Principle Actors and Characters:
Supporting Actors & Characters:
Evaluating the Designs:Scene Designer/Set:
Are currently enrolled in a THR UAF course this semester?
There's a wonderful line in a scene from Robert Bolt's beautiful play about Sir Thomas More "A Man for All Seasons." The young ambitious Richard Rich has asked More for advice on a career. "Why not be a teacher? You'd be a fine teacher. Perhaps even a great one," More says. "And if I was, who would know it?" protests Rich. "You, your pupils, your friends, God. Not a bad public, that ..."
2005: The purpose of my online production books was to assist myself, cast and crew during pre-production and rehearsal periods. After the show is over I use webpages for my classes: directing, acting, drama.
On Theatre Directing [Master Teachers of Theatre: Observations on Teaching Theatre by Nine American Masters by Burnet M. Hobgood; Southern Illinois University Press, 1988] :
A chief reason theatre is a difficult teaching field is the broad range of subject matters it includes. When the dramatic arts entered American education early in this century, programs dealt with selected parts of this range. As the teaching field became more widely established, more and more of the extraordinary diversity of theatre found its way into curricula. At the present time, the variety of studies conducted by theatre programs has reached an extent beyond the ambitions of the pioneers of theatre education.
... More than a generation ago, when all of American education expanded remarkably (after World War II), the number of theatre programs at all levels grew as well. Expectations of theatre curricula both widened and deepened, especially in colleges and universities. Administrators found their programs criticized if they did not treat all important aspects of theatre, with the result that more and more educational institutions authorized enlarged curricula with highly specific instruction. The generalists, who had been expected to conduct instruction in several areas, now focused their work on one or two subjects. The most desirable teacher came to be one trained and tested through professional experience to deal with a narrow segment of theatre -- in a word, a "specialist."
But my dream is or was to be a filmmaker
I said WAS because in my country there are not any university to filmmaking or to be a theatre director …
I search ur site (vthatre) but I don’t know how I will be an online student???!!!! i read several pages but I don’t know!!!!!
I have experience in theatre acting (I ACTED IN 2 PLAYS)
And directing one play to 16 years old students
I studied something about filmmaking such as(camera angels,,
Frames sizes,,shots ,,etc…)
Please tell me HOW CAN I HAVE MORE INFORMATIONS ???
About filmmaking..and how can I use ur site to study theatre acting and theatre directing , …
PLEASE SEND ME INFORMATIONS TO !!!!!!!!
I do not answer emails, and the above one is the reason why.
This letter from Armenia is from one of the millions lost minds from around the world.
I'll be 56 on 3.1.2005; I wish I could take a class from Sophocles or Shakespeare. Most of the people I would like to study with are dead. What do I do?
I take their scripts, books, paintings -- and I study. Day after day, for many years. My webpages are the by-product of this process. I know that I can't sent email to William... I am his cyber-student.
Since I am using the webpages for actual (live) classes, I have to make this pages "students" in every course directory to help you in your "homework"!
First, read the title, preface and intro pages (and the course syllabus, of course). See the support pages, like FAQ, Dictionary, Links, Books and etc.
THR331 Fundamentals of Stage Directing has a prerequisite (THR121 Fundamentals of Acting), please go to the acting directory and see what I expect you to know. Usually, I give a non-grade test in class on our first meeting; to see what you know or don't know.
Also, this class is required for the THR470 Film Directing; I suggest you check it too.
If you didn't take THR423 Playscript Analysis or at least THR215 Dramatic Literature, we, you and I, are in trouble.
Well, I am working on webpages, while I am teaching; you better bookmark them and check periodically!
Winter Shorts: Student-Directed (THR331 is required)
Next Step: SDA show (5.17.03)
"Before I switch the gears and forget about UAF for a couple of months, some guidelines about your show (no title yet):
I will put on reserve Abrah's Director's Book (each of you should get this kind of master-fire right away).
1. Text (scene/play)
3. "Poor Theatre" setting -- Kade will write what you expect on the tech side (no-budget show, maybe $50 each from our Dept.).
4. Tara plans to have one week for you to costume -- you should have good ideas by then.
5. Production Manager (I don't know about the composition of SDA in the Fall) -- get our new guy (from TX), Kurt
Chip, if you are to pick up some script from the Albee Conference, get the written permission to perform (talk to Tom about the form).
If I won't get your proposals (texts) by July 1, I will assign the scenes for you. Any original/new material must go through stage-reading first.
If there are more directors-in-closet, I need to know now (Carey?).
Please, post your ideas/texts here -- directors' forum.
#? We don't have designers for you (costume, set, light, sound, makeup and so on), get somebody or do it yourself...
PS. Stay with Comedy (genre) to balance The Possessed (heavy drama)."
Directing, Acting, Thr w/Anatoly
Part I: Plays
Part II: Actors
Part III: Stage
Part IV: Public
Part V: Hamlet, showcase
Proposal for 10 minute winter short---UAFFall 2003: Grace Eagle Reed
The proposal I would like to submit is from the script of Bertolt Brecht’s Mother Courage. I will concentrate on scene 11 and 12. I would like to direct in as much as Epic style theatre as possible.
I am studying the scenes written in Lee Jacobus’s book, Drama and Cole/Chinoy’s Directors on Directing.
I have the scenes clearly worked out in my head and stage set up drawn on paper with characters, props, costumes, lighting, music and script needed.
Eight soldiers (4 will suffice)
Two people that will represent Mother Courage’s sons (they will be under white sheets as ghost)
Props----rather tall box that character Kattrin can stand on while drumming
Wagon, not too big but large enough to hold about 25-30 stuffed dolls.
Twenty five or so dolls that will be sitting around the box where Kattrin is drumming
Drum—guns---swords---war paraphernalia and an axe.
A shaped ladder
Costumes----dull, worn, tattered, but period peasant dress, soldiers uniforms can be modern military from Value Village for instance. White ‘ghost’ sheets for two characters under them.
Lighting---mostly white spotlight on Mother Courage as she circles with cart, red one for Kattrin as she is murdered---but simple lighting.
Music---I want to start with classic 60’s war protest songs (excerpts) The Byrds, Turn/Turn/Turn, Bob Dylan’s, Blowing in the Wind and/or Barry McGuire’s Eve of Destruction ----- and end with that too. All actors will be on stage and will stay on stage but march in circles. Kattrin will lay on stage and join her brothers as they march in back of Mother Courage while she is following the soldiers.
Script---I would like to play with the script a bit due to time allotment and will need to consult and get help with this. I am reading some good suggestions from the books I am studying for this particular play.
Let me know what else I need to submit but this is a start toward the fall activity for Winter Shorts or whatever we are going to do.
Sample of the homework for directors:
Theatre 331—Fundamentals of Directing for Stage & Film
Suggestions for Hamlet
Act 5, Scene 1 (joined in progress)
Characters: Hamlet, Horatio, and “Clown 1” (gravedigger)
Setting: Churchyard cemetery, early morning
Props needed: skull, bones, shovel
Hamlet and Horatio are walking through churchyard cemetery when they chance upon a man digging a grave (Clown 1) The grave is being dug for Ophelia, unbeknownst to Hamlet. Hamlet asks whose skull this was on the ground. It is the skull of Yorick, the Court Jester that entertained Hamlet’s father and had been like an uncle to Hamlet in his childhood.
This scene should take place in the early morning, as was custom for funerals at Shakespeare’s time. The lighting, therefore, must reinforce this decision by being of medium brightness.
The cemetery can be shown by the green floor, with black holes for graves, and the backdrop can be painted to appear as though the cemetery stretches into the distance.
In this portion of the scene, Hamlet is unaware that Ophelia is going to be buried, so we want the suspense to be building up toward this realization. Therefore, the pace and the mood of this section should not be so heightened that the soon-to-come twist will be overshadowed, and anticlimactic as a result.
Hamlet: (referring to skull on ground)
Whose was it?
A whoreson mad fellow’s it was: whose do you think it was?
Nay, I know not.
A pestilence on him for a mad rogue! a’ poured a flagon of Rhenish on my head once. This same skull, sir, was Yorick’s skull, the king’s jester.
Let me see.
Takes the skull
Alas, poor Yorick, I knew him, Horatio: a fellow of infinite jest, of most excellent fancy: he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rims at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? Quite chap-fallen? Now get you to my lady’s chamber, and tell her, let her paint an inch thick, to favour she must come; make her laugh at that. Prithee, Horatio, tell me one thing.
What’s that, my lord?
Dost thou think Alexander looked o’ this fashion in the earth?
And smelt so? Pah!
Puts down the skull
E’en so, my lord.
To what base uses we may return, Horatio! Why may not imagination trace the noble dust of Alexander, till he find it stopping a bung-hole?
‘Twere to consider to curiously, to consider so.
2007 An online course supplement * Film-North * Anatoly Antohin * eCitations
© 2006 by vtheatre.net. Permission to link to this site is granted.
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