* 2008 directing class + R/G are Dead (Theatre UAF)
1. director Acting One (M. Chekhov)
2. director page in Acting2 (Biomechanics)
3. Director and directing @ Acting III (Method)
... acting-directing as one class
"Theatre is not a mirror but a magnifying glass." Mayakovsky
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The textbooks don't answer them.
Most current projects: Virtual 3 Sisters and vTheatre Discussion List -- join!
Directing is a dance with public. You lead... and let them lead. The story is between the two, a good story is their EXPERIENCE. Director makes invisible into visible (visualization). Bring out only a part, enough for their next step and next question. Letting them SEE is hidding the most important for the next shot! And again!
"Start with the disordering event, and let the beat be about the attempt to restore order." (Mamet on Directing)
Two shots are the CONFLICT.
That's all -- direct it, the conflict.
Remember the laws of Dialectics!
Avant Garde Theatre, 1892-1992 by Christopher Innes; Routledge, 1993 - 1: Introduction - 2: The Politics of Primitivism - 3: Dreams, Archetypes and the Irrational - 4: Therapy and Subliminal Theatre - 5: Antonin Artaud and the Theatre of Cruelty - 6: Ritual and Acts of Communion - 7: Black Masses and Ceremonies of Negation - 8: Myth and Theatre Laboratories - 9: Secular Religions and Physical Spirituality - 10: Anthropology, Environmental Theatre and Sexual Revolution - 11: Interculturalism and Expropriating the Classics - 12: From the Margins to Mainstream
HamletDreams 2001: mindscape
The Great Stage Directors: 100 Distinguished Careers of the Theater by Samuel L. Leiter 0816026025
SummaryDirecting (as a profession) has less one century old history, compare it with 24 centuries of playwrighting and how much theory was generated in such a short time!
QuestionsHow to bring together ALL pages on direct and directing? Menu?
NotesThe textbooks for the Spring 2003 classes (above, linked with Amazon) could be different next time around. I know it for the THR331 Fundamentals of Directing class.
Files for THR331 directing class (doc):
Theatre on the Web:
Between Stage and Screen: Ingmar Bergman Directs by Egil Törnqvist; Amsterdam University Press, 1995
The Theatre Team: Playwright, Producer, Director, Designers, and Actors by Sidney Berger, Jeane Luere; Greenwood Press, 1998 (references in THR331 Spring 2006) (biblio)
... In 1905, theorist-essayist-designer Gordon Craig specified in On the Art of the Theatre that "the directorial function is fully established as the art of synthesizing script, design, and performance into a unique and splendid theatrical event" (quoted in Cohen 1983, 141). In 1913, Jacques Copeau added, "the director's primary task is the faithful translation of the dramatist's script into a 'poetry of the theatre'" (quoted in Brockett 1982, 578). By the 1970s, authors of theatre texts were proclaiming, "the director is the final authority in all matters related to production; he stages the play, coaches the actors, integrates the entire production" ( Sievers, Stiver, and Kahan 1974, 11). In the 1980s, a popular theatre survey called the director's art "conceptualizing the play, giving it vision and purpose, inspiring and coordinating the company of artists on the theatre team" ( Cohen 1983, 138).
Directors on Directing: A Source Book of the Modern Theater by Helen Krich Chinoy, Toby Cole; Bobbs-Merrill, 1963
... Less than a hundred years ago the director was only an ideal projected by disgruntled critics of the chaotic Victorian theater. He did not even have a name, for the terms "director," "rigisseur," and "metteur en sc¨¨ne" had barely begun to acquire their present theatrical meaning. He was imaged as a "disciplinarian" who would superintend the "whole conduct of a piece and exact a rigid but a just decorum." He was conceived as a super stage manager who would be "at one and the same time a poet, an antiquarian and a costumier." When the director did finally appear toward the end of the nineteenth century, he filled so pressing a need that he quickly pre-empted the hegemony that had rested for centuries with playwrights and actors. Working behind the scenes, the director stamped his individuality on a rich and varied international stage. By blending diverse arts into a single organic image he gave form to the complex modern theater, just as the poet had given shape to the Elizabethan stage by words and the actor had crystallized the theatrical idea of the eighteenth century by his personal magnetism. The appearance of the director ushered in a new and original theatrical epoch. His experiments, his failures, and his triumphs set and sustained the stage.
The Simple Stage: Its Origins in the Modern American Theater by Arthur Feinsod; Greenwood Press, 1992 [ * historical ref. ]
Commedia Dell'arte Performance: Context and Contents by Southeastern Theatre Conference; University of Alabama Press, 1993
The Director and the Stage: From Naturalism to Grotowski by Edward Braun; Holmes & Meier, 1982
[ books page @ StageMatrix ] THR 332 - Stage Directing (Mon 3:30-6:30pm) Spring 2007
* The Theatre--Advancing by Edward Gordon Craig; Little, Brown & Company, 1919 - Part I - A Plea for Two Theatres: This Essay Is Dedicated to the Tired Business Man - A Durable Theatre - The Modern Theatre, and Another - In Defence of the Artist - The Open Air - Belief and Make-Believe: A Footnote to "The Actor and the Über-Marionette." - Imagination - Part II - Theatrical Reform - Public Opinion - Proposals Old and New: A Dialogue Between A Theatrical Manager and An Artist of the Theatre. - Part III - Gentlemen, the Marionette! - On Masks: By A Bishop and by Me - Shakespeares Collaborators - In a Restaurant - "Literary" Theatres - Art or Imitation?: A Plea for An Enquiry After the Missing Laws of the Art - A Conversation with Jules Champfleury - The Theatre in Italy: Naples and Pompeii: A Letter to John Semar - Church and Stage: in Rome: "When in Rome Do as the Romans Do." - Thoroughness in the Theatre - On Learning Magic: A Dialogue Many Times Repeated - Tuition in Art: A Note to the Younger Generat