"We're tightrope walkers. When you walk the wire in a movie, the wire is painted on the floor, but when you walk it on the stage, it's a hundred feet high without a net.... You've got to do it, because you're on the wire and there's no going back again like you can in the movies. That does a whole different thing to you psychologically. It's with you all the time--you know you've gotta walk that wire." --Al Pacino, actor
* The Images (old) --> (new) Stage Directing Album *
* 2007 -- class & Power Lunch + Danny (WS) analysis assign. paper * post to google.com/group/directing
1. First impressions: notes of reactions to play on initial reading,
including images, colors, etc.
2. Research: Summarize the most important insights you have gained
from your research into your play. Discuss specifically how your research
findings will influence your interpretation and/or production of the play.
List sources consulted (in bibliographic form).
3. One-sentence statement of action (root action/significant action).
4. Structural Analysis: identify and briefly discuss inciting incident,
each major complication (in order), major crisis (turning point), major
structural climax, major emotional climax, resolution. Give enough detail
in your analysis so that the reader can identify the point in the play
that you are talking about and why you consider this the inciting incident,
etc. For complications, note the effect of the complication on the action.
5. Brief discussion of theme. State theme clearly and support your
choice of theme with evidence from the play.
6. Brief discussion of style of the play. What choices are you making
about style for your production? Why?
7. Spine of the play--identify and discuss briefly.
8. Character Analysis--Biography.
9. Motivational Units: Break your scene into motivational units
and number/name the units. Present this portion of the analysis in promptbook
format, with starting and ending points of each unit marked; unit analysis
should be on page facing page of text.
10. Discuss any particular directorial problems posed by the play
and the scene.
NOTES: biblio, references & ect.
Questions
Evaluation of Directing:
Play/Production: _______
Theatre/Company:
Dates:
Director's Name:
Interpretation/Concept:
Visual Elements:
Aesthetics:
Ensemble:
Acting:
Names of Principle Actors and Characters:
Supporting Actors & Characters:
Evaluating the Designs:
Scene Designer/Set:
Costumes:
Makeup:
Lighting:
Sound:
1. Everything I see problematic in Winter Shorts I see in my directing class.
2. Stage management class is missing.
3. Many didn't take DramLit class before and not familiar with script analysis.
4. Some without acting experience.
Film Directing (class):
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).
Theatre majors : The Student Drama Association (SDA) consists of student actors, directors, designers, and technicians who seek to stimulate dramatic activities on campus and to assist in the staging of all departmental workshops and major productions as well as productions of visiting dramatic groups. The SDA offers an opportunity for involvement in the theatrical events and stage works of all types to all interested members of the Fairbanks community. (see Theatre UAF
... 2007 : Danny and Deep Blue Sea + Power Lunch -- see Theatre UAF official website!
Ben : Danny and the Deep Blue Sea received its professional premiere at Actors Theatre of Louisville in February 1984.
“I Am The Real Thing”
A Conversation with Playwright John Patrick Shanley
http://www.secondstagetheatre.com/danny/danny_interviews.html
MEL GUSSOW NYT : AS a Bronx variation on ''Beauty and the Beast,'' John Patrick Shanley's ''Danny and the Deep Blue Sea'' could be called ''The Beast and the Beast.'' A man and a woman, both lonely outcasts, meet in a bar. He is violent and possibly homicidal, she is tormented and possibly suicidal; each is transformed by the love of the other. ...
Craig : Power Lunch is a play by writer/director Alan Ball
best known for writing the screenplay for the Oscar-winning film American Beauty, and for creating the HBO original drama series Six Feet Under.
They have to take my THR331 Fundamentals of Directing before they can apply (proposals) to our Student Drama Association (SDA) for directing (plus, must stage manage one show).
I should have this page way back, because it's one thing to direct scenes for class (finals are on public), another -- for paying public, running shows two weekends!
Overall problems:
They are weak in "space arrangements" (mise-en-scene). More exerc., in class. Samples on webpages.
Novice director can get only that much from student-actors; therefore the focus must be on directing the script into "stage languages"!
Interpretation/Concept: see concept page @ Film-North
Visual Elements:
entrances/exits (examples of "strong" and "weak")
groups (focus on action):
Images/Symbols:
Ensemble (working with actors and text) =
Exerc.:
Justifying Movement
Ground Plan Exercises
Open Scene Exercises
Script Exercises
* "Pre-production period" -- they start working on their shows too late. They should "live" with the script for a year (at least).
* Rules for a first-time director? [ list ]
[ Student-Directed One-Acts Proposal (form) : Students who have successfully completed the 331 Fundamentals of Directing class are eligible to apply for directing a one-act production in the Lab Theatre. ]
* Each student is responsible for selecting base resource materials or playscript for performance and then overseeing the entire production and staging process through to, and including, presentation of the finished product.
Comments on Fall 2004 shows? Spring 2005 -- posts on eGroups.
Titles (recommended) for consideration (list)
Skill requirements: 1. Experience in practical theater production, especially in stage directing and stage managing.
2. Background in dramatic literature and general knowledge of styles and periods.
3. Some organizational experience in coordinating of production phases, scheduling, etc.
4. Preferably enough experience in design and actor training to allow for some coaching in these areas.
[ "General Evaluation Guidelines" -- right table ]
Stage Directors are individuals working in the art and craft of communicating in a space (the stage) and time (the theatrical experience).This category houses sites of currently active Stage Directors, that is directors engaged in the art, looking for work, or working in projects. These sites represent a Stage Director's work, careers, resumes, philosophies and/or online professional portfolios.
http://www.combose.com/Arts/Performing_Arts/Theatre/Directing/Stage_Directors
* Casting: Before a production is filmed or staged, directors undertake auditions to select actors for parts. They also select set designers to create and design the perfect setting (eg. minimalist or period setting) and technical staff such as the camera, lighting and sound technicians. The director must be confident that these people can make his or her production come to life and complement his directing style. Another early job is to decide where the production is to be filmed, staged or recorded.
* Directors, as the name suggests, are responsible for providing artistic and technical direction to film, stage, television and radio productions. From start to finish, a director has control over all areas of production, including casting, lighting, sets and costumes. Even though there is typically a lighting or costume director on board, basically the buck stops with the director.
* Most stage directors do not realize how well equipped they are to direct film. Blocking, timing, storytelling and working with actors are all essential directing skills that many film directors lack. Why not start a theatre group with a few close friends (like Steppenwolf in Chicago, or Second City in Toronto) and build a reputation for exciting stage shows. Invite reviewers and agents, and wait to be discovered by a producer,or turn a stage show into a movie yourself. Examples: Sam Mendes, Stephen Daldry, Andrew Shea.
Faculty supervision (my note to a student-director, sample):
Joe, a short note. The rest -- in person.
Should the preshow music go over the beginning?
Carol's reaction -- oh, he is on the phone again (bigger, she throws something away).
He is not listening to her (reading the paper).
Comedy to be established right away -- where is the "first joke"?
I talked to Carrie, maybe she could help your with actors (the two are not comfortable with each other, intimacy).
First reactions to Holly -- bigger.
Let her to be more physical with him. Should Holly play the audience? No forth wall.
Move Holly behind the sofa, not in front (and th sofa further back, the side audience can't see the mise-en-scene and actors).
The ending is weak... [important] Maybe a wink to the public from Holly?
"I am beautiful again" -- self-examination, discovery, the stages of her reaction.
