Virtual Theatre * Theory * Themes * Script Analysis * Theatre w/Anatoly * dramaturg pages *
No man ever believes that the Bible means what it says: He is always convinced that it says what he means. -- George Bernard Shaw
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Featured Pages : Script Analysis & DramLit
2007 updates -- see calendar!
NEW: 215 and 413 subdirectories + THEMES subdirectory
God comes to us in theater [in] the way we communicate with each other, whether it be a symphony orchestra, or a wonderful ballet, or a beautiful painting, or a play. Itís a way of expressing our humanity. Julie Harris
For thousands of years, the male, masculine element was dominant in humanity - force, audacity, pride, courage, striving afar, cruelty, militarism... Millennium after millennium, waves of wars, rebellions, revolutions, terror, and furiously merciless massacres have been rolling and rolling across the face on the earth. The innumerable drops in these waves are male wills and male hearts. . . Meek femininity, driven into the depth of family cells, escaped destruction only because without it man himself was as sterile as a piece of lead and because the physical continuation of mankind is impossible without a woman. . . Until now it was proclaimed that not only a man, but a woman is obliged to be manly. . . But. . . not only a woman, but a man too, must be feminine (Daniil Andreev 6, 3, 123, 124).
SummaryThemes > Ideas > Concept (directing)
QuestionsIn the spheres of the highest creativity, something occurs which is opposite to what we see in the physical world. Here the woman is the fertilizing principle while man is the principle of shaping and incarnation. The Divine Comedy is the product of two authors and it could not appear without both Beatrice and Dante. If we could penetrate the depths of the creative process of the majority of great artists, we would become certain that it was through a woman that the spiritual seed of the immortal creations was thrown into the depth of their [artists'] unconscious, into the hiding-place of their creativity (Daniil Andreev 6, 3, 123).
NotesThe pages "topics" (themes) are not growing... although that is what holds drama classes together ... Maybe when I get to "Wrong Subjects"?
* The titles are not touched in THR215: many! (overview to keep historical/thematic continuety?
* My directing ptojects (connected with what I teach): Chekhov'05 and Pirandello? Beckett? "Director's Notes" (Case studies and drama classes) -- visible links?
The changes in STYLES = history, evolution, progress. Philosophy Through Art -- "Theatre Story"...
2005: XX century theatre/drama by decades:
Impressionism and Expressionism
Futurism, Surrealism and Dada
Constructivism and Absurd
"historicity" (logic of moving from one style to another -- and historical events bg? social changes)
Culture (pop) and Art: the conflict.
dramlit Dramatic Literature Forum * if in my drama class, must subscribe!
Intended for both THR215 Dramatic Literature and THR413 Playscript Analysis (especially for this one).
The SCRIPT directory is arranged around periods and authors and I needed to link them all through the thematic development in drama history.
Fall Y2K: I teach the class, but have no time to work on the web-textbook. Also, a second thought -- Maybe it should have a different aim. Playscript Analysis for Actors and/or DramLit for Directors -- Playscript Analysis of the Century is not a textbook (or for the advanced and grad. students).
Not narrow enough!
Why not playwrights?
Could it both -- for actors and directors?
I use the copyright free scipts online for analysis, for acting and directing classes, but there is so much material on acting and directing theory that there is no room left to go the text analysis. It's a separate book!
What is the difference in Play Analysis for Actors and for Directors?
Yes, this page gave birth to THEMES subdirectory in SCRIPT ANALYSIS pages: but it has to be comparative analysis (see method page)
Our "Plato Academy" (Club, see theory) is not introduced to the script.vtheatre.net pages!
... Dramatic Literature [2007 notes]
I wish I can put more, but it makes the download too slow.
Not a test. No grade.
|Keep all your notes for Dramatic Literature class if you plan to take THR 413 Playscript Analysis course. Use Syllabus'98 to navigate. The whole web-course is new and there must be errors and dead-links; please report them (email me). I have a form/survey to get your feedback on design and navigation of the webclasses and I hope by the end of the semester it will be on your class page 215 Notes|
Aristotle's "Thought" (Structure in Poetics) come from the polyphonic game of themes, connections with 3 Elements of Texture (Language, Music, Spectacle).
Themes and Symbols (Semiotics) = how to read them?
Image --> Symbol (for directing showcases).
Venice Carnival 2002 & DJ 2003
Film-North * Anatoly Antohin * eCitations
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cite: anatoly antohin. URL + date [ my shows : 1. writer * 2. director * 3. dramaturg * 4. actor ]