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ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan: Director's BOOK
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The main directory is script.vtheatre.net and now two writing directories: WRITE textbooks and write.vtheatre.net nonfiction. Yes, also, two plays directory: PLAYSEnglish and PLAYSRussian (most recent hyperdrama project).
Writing is my personal priority (I do not paint anymore) and most of the new pages will be there; subscribe to my mailing list to stay updated. There are too many texts are not online, too many are not finished.... Some will never be finished.
Now, about the title "Script & Spectator" -- what is he talking about? Okay, we agree that spectator is a participant of the acting or directing process, but writing? No way! Play is the fixed structure -- I didn't write it! No, sir, I didn't do it, officer...
Let me explain myself: it's very difficult for for plug in the postmodern analysis into acting or directing. I know it by experience. Not only for me, mind you. Postmodernism is an established field in luterature (maybe performance studies, too), but in acting? How is that -- "postmodern acting"? What is that? Are you nuts? Get lost...
And I get lost. We all are. We do not even know what "film acting" is (from the theorical perspective). At the beginning, the revolutionary minds (Eisenstein) said: forget it! No acting, I don't need actors! Models! Types! Real people! (like some CEO from the Medison Ave). That was very postmodern (no wonder that his directing pupil Meyerhold got angry at his Method acting teacher Stanislavsky). We look at our film-stars who are not actors (Eisentein was right) and mumble -- celebrities, personalities, bla-bla-bla... I only wish I could give a good Marxist analysis (or at least Post-Marxist one) to this issue. No, really, I want to help my kids in acting classes to make good money (which has nothing to with acting, almost nothing). But how to make them understand?
Maybe presenting spectator as a writer of the spectacle can help... All right, just another take on spectatorship theory (what the heck, video and web are cheap). How do you write a show you see?
Advertisement industry knows that you, my dear, begin to "write" even before you see the show (or movie). Yes, yes, your imagination, the old machine! Like in some improv class you need very little to start "working" -- yes, it's you, who are the main worker in the American paradise for the working man. And you pay for the privilenge to work under the trick called "entertaiment"... How? Take you pick. "Die Hard" -- interesting? We all are to die, right? But we are Americans, we won't go easiely, no, sir! Do you smell, should say an "ideology" -- or even the genre? Of course, it must be ACTION movie! Remember the old Aristotle, who believed in karate movies, when plot superceeds two other structural principles (Hero, Idea)? Do we need a thought, message, idea? Come on! You are writer, you know that all this "meaning" stuff is in there! Shoudl we have a hero (Character)? It would be nice, if you plan to make a lot of money. Listen, somebody has to "die hard" and defeat the death at least for now (like a little American Christ, but by killing the enemies). Aha! We got the conlict and enemies already! Without even seeing the movies, we wrote them in! Without even noticing it! Wow!
Do we know the beginning of the story? Yes, we do. Our hero is to struggle with the evil forces. Do we know the end? Of course, he win. Formula? So what? It's beeing in use from the Greeks! Do we know tha climax? Yes, the main battle... And you said that you didn't write "Die Hard"!
Of course, somebody smart copied your story -- and sold it! Your fault! You could make all the money, if you only believe that you write all the movies you see. You, stupid, man!
But seriously, Anatoly, what the POMO (postmernism) has to do with it? Everything about this co-authorship is postmodern. At was the same at the times of Homer, at the Imformation Revolution Age it became abvious. Our mythology (movies) is a collective product as ever. "Filmmakers" are only "making" it visible, they express your hopes, desires, wishes, fears. (BTW, read POV, Self, Tech -- my nonction, or take THR413 Playscript Analysis).
I had to make a new directory "Spectator-Text" in order to explain the fact that you (and me) are the texts (social, economical and etc.) to read -- and reflect upon. That's what the mass-market does: demand -- supply. Do you have nightmare? Sure you do! Get the horror genre -- you asked for it, man, do lie to me, please.... Shakespeare said that theatre is a mirror (although he himself use this mirror as a multiply glass) -- let us use it! What do I have to do after I "read" you (your mind)? I will play (read) it back! Oh, you are suprised that I know your fears? You think that you didn't tell anybody about your crazy thoughts? Surprise! I know it -- because I have it too, fool!
2007+ 2004 & AfterChekhov, Ibsen, Bard, scripts
projects: Demons 2003
texts: Theatre History
in focus: Taming of the Shrew
Theatre Books list *
reading: Theatre Theory
play writing amazon list *
The Rest of the Theory Pages
Pages in this directory on drama:
See the listing in the main menu (left)!
* NEW: goto.txt : AFTER 2009 : LUL pages : teatr.us Go.dot 2006 * * 100 years since Sam Beckett's birth * flickr.com/groups/stage * 2007 : the art of theatre [flickr] * 2008 : Stoppard *
Russian-American Theatre (RAT)
Fulbright Scholar (my notes on Soviet Era and Socialist Realism as the after-modern (POMO) ideology isn't there).
Part I. Performance and Part II. Staging
Film-North * Anatoly Antohin * eCitations
© 2005 by vtheatre.net. Permission to link to this site is granted. books.google.com + scholar.google.com
cite: anatoly antohin. URL + date [ my shows : 1. writer * 2. director * 3. dramaturg * 4. actor ]