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* Spectator *
Virtual Theatre: The ‘performance theatre’ (Fuchs 1999) or ‘experimental director’s and choreographer’s theatre (Elam) of Richard Foreman, Meredith Monk, Robert Wilson, Elizabeth LeCompte : a hybrid form combining music, dance, physical theatre, multimedia and non-dramatic textual sources...

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Stage Directing Theory
Directing Theory: pre-text, text and super-text = playscript + spectacle + public
Performance: Texts and Contexts, by Carol Simpson Stern and Bruce Henderson, Longman, 1993 (my notes)

"Performance events require a performer, a text, an audience, and a context." (16)

The last is the most interesting. "Context includes the social, political, historical, psychological and aestetic factors that shape the way we understand the text." (17)

Who does provide the frame of references (context)? Should we go back to the public? "... the performer-as-audience" (18). What about "audience-as-performer"? That's where director comes in!

[To illustrate the "mindscape" life of drama, I am using the graphics from the HamletDreams. Dante's organization of the other world is a mental construction, dramatization of the ideas. I plan to bring the structure of the Self (Super-Ego , Ego, It) in the picture. The stage spectacle is projected into this inner creative environment, the place where the real action (emotion-thought) takes place. ]


This is the easy one!

Of course, Spectator directs!

Who else?

Theatre w/Anatoly: intro pages
Classes: Aesthetics

Public and Spectacle pages

Read Nietzsche, if you want to understand how to direct our (modern) public!



I have to bring the idea of Doubling or Dialectics. Hell and Heaven, Good and Bad, Right and Wrong, Light and Darkness, Silence and Scream -- the opposites is the basis for the conflict and must have the same inner organization. Aristotle established from the start Tragedy and Comedy as two main genres. Also, fear and pity (the emotional structure must be described in details).

Following the directions, Actor inside Spectator performs the drama (the border between theatre and ritual, when spectator becomes a hero. Again, the Identification Principle from the Method Acting).

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Spectator as Director

Brook -- DIRECTING  directory
Director is the altimate spectator!

Mad Spectator

Oh, now I understand it!

The revolution of the later modernity in theatre -- the "director's theatre" phenomena.

This hyperactive spectator, who couldn't act or write, got on stage to arrange the show the he wants it!

Okay, maybe he knows how to act, but it was too boring for him. So, he became a DIRECTOR!

I told you, read Nietzsche. Read about the tradition of the existential -- about the chaos and anarchism (what do you think democracy and free market are?) Aha, I see, you do not like those words, you rather call it the American Age, or Individualism. Okay, but you will to understanding of the new millenium mentality with a slow speed, using the terms of modernity.

It's your business.

The postmodernism in existence since 1968 (officially), but we still do not know how to read Beckett or Joyce. Sad, sad.

Listen, maybe you have no personal opinion about the theory of gravity, but you do have it about the show. The Theatre asks for it, it insists that you have to have it -- and it must be PERSONAL.

You have your opinion about actors and acting, about the story, about everything!

You are the critic!

Wait a minute! How would you do it differently?

You know, director or not, many have their own IDEAS how it should be done.

Of course, they do, they should!

I do!

Purgatory, Dante

See Stagematrix


The answer is in the absence of director on stage, his quality of not being visible.
Dante's Map
The celebrity cult and society of spectacle.


Entertainment is the only real human busness, the rest is for the losers (machines). We feature ourselves, we are in focus -- how else? Finally.
Hell, Dante
Stir the imagination of audience with feeling and thought.
Next: Actor
119. Audience should be alarmed by the story. -- stage directing class