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 et.al : a hybrid form combining music, dance, physical theatre, multimedia and non-dramatic textual sources... [ advertising space ] Stage Directing Theory 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. ] double This is the easy one! Of course, Spectator directs! Who else? Theatre w/Anatoly: intro pages Classes: Aesthetics Drama: Click to View List Entries. meyerhold.us Method for Directors? stanislavsky.us New directory: Spectator-Text ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751 amazon.com: filmplus.org + vtheatre.net my eGroups Public and Spectacle pages Read Nietzsche, if you want to understand how to direct our (modern) public! THEATRE OF ONE StageMatrix Theatre with Anatoly: Click to View or Add Text. 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). new: 2003 * Reading List(s) : Click to View or Add Text. Summary What do they do, our directors? What do they direct? Actors? Spectators through actors? But what do they direct in spectators? Scripts? Emotions, thoughts! Everything else is the means, forms, tools to do it -- my dramatic experience is what I need from the show. Questions What languages do I use to produce this dramatic experience in public? The languages they understnd. Words, movement, light, sounds, body language... many. Notes I placed pix from Dante's Divine Comedy in order to illustrate the machine of imagination, which already exists in the mind of my audience. All I have to do it PLAY it. Take a note of the vertical structure; at the end (top of bottom) is ONE. This is the paradox: public could become one, but through individual experiences (the chronotope of the show and the laws governing perception in each and all are the same). Inretesting that our percenption is always multileveled -- polyphonic, they say. The orchestra! Bradby and Williams (1988) make the quite reasonable claim that ‘the dominant creative force in today’s theatre is the director. No longer just an organizer, the director is now considered an artist in his or her own right’ (p. 1) Go to... plays online theatre theory RAT books theory classes filmplus.org plays online POV Film-North my mailing list Theatre UAF my shows write directory spectator.vtheatre.net They trace the beginnings of the shift from author/playwright to director to the end of the nineteenth century when directors such as Constantin Stanislavsky and Andre Antoine put their own artistic stamp on the theatre they made. Edward Gordon Craig is however credited with formulating an idea of the director as the supreme theatre artist of the modern age. I am now going to tell you out of what material an artist of the theatre of the future will create his masterpieces. Out of ACTION, SCENE, and VOICE. Is it not very simple? (Bradby and Williams 1988, 6) 87. Audience doesn't listen... Only after they see... ...

Spectator as Director

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

Spectator: Click to View or Add Links.

PS

Dante's Map

NB

Hell, Dante

Next: Actor

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38. Audience must make up their minds...

2007-2008 2004 & After projects: Bergman Kurosawa texts: Shrew04 + Oedipus X in focus: StageMatrix reading: see BOOKS pages in all directories Links Chekhov, Ibsen, Shakespeare

109. Audience has to be lead to the edge; the unknown...

2006: Stage directing

Five parts:

1. Director and Script [ based on script.vtheatre.net ]

2. Director and Actor [ three acting directory: Acting 101, Biomechanics, Method ]

3. Director and Stage [ chronotope ]

4. Director and Public [ Book of Sprectator ]

5. Shows [ showcases ]

Film-North * Anatoly Antohin
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