2004 -- I don't know what I will direct. The Possessed threw away my wishlist. My plan was to work on thew new draft of the play. I am thinking about breaking my promice to myself not to write screenplays ever. The Possessed is so close to be a script. And -- asking for it!
"When I was a young man I observed that nine out of ten things I did were failures. I didn't want to be a failure so I did ten times more work." --George Bernard Shaw
2005 updates: Small Chekhov Fall * "Four Farces & One Funeral" -- Chekhov.05 Chekhov's one-acts are updated -- The Bear, The Proposal (1st act -- Oh, Love!), Wedding, Tobacco (Act II -- Ah, Marriage!), but I'm still working on the "funeral" (Last Day of Anton Chekhov). mini-chekhov I am teaching DramLit -- groups.yahoo.com/group/dramlit (subscribe) and see THR215 for subjects, topics, titles.
Spring 2006 -- Waiting for Godot, Beckett -- new pages ( see shows )
I have to work on my books, not webpages. I will place the links to the textbooks, if you want to have the full print versions. Yes, you can expect some updates and the new startup projects -- showcases like "The Shew" or "Oedipus X" (production directories for season 2004-2005). Both are my adaptations.
Another year ahead, another year behind.
A few notes --
Directing conference in St. Petersburg, May 28, 2004 (I don't think I will go, but I am going to Moscow in three days -- 12.27.03).
Proposal: "Virtual Theatre and Hyper-Drama" (in Russian).
Several writing projects and directing: Bergman (Wilde Strawberries) and Kurosawa for UAF season 2004-2005 (replaced; we didn't have the rights).
Last week before 2004: I have to finish the web-updates (4th generation). New gears: photo.txt, quotes.txt and banners.txt...
The old ones are still not updated: topics.txt, table.txt, banner.txt and so on.
I need to cut down the webmaster's time -- do I have enough cyber space to use it? I hope that everything I need is in place; the number of pages, the structure, the organization. (I have to keep replacing "htmlgears" with new codes; not Tripod is not reliable). So-called "new" is now 2004.txt, for example.
I must put to rest the issue of traffic, focus -- on content only!
There are real serious issues I better think about.
More my webmaster's new year resolutions?
No, thanks.
The "chronicles" pages were to serve as my records and plans... Does it work?
When I will get to this new Freud page? Who knows?
On Method pages there are several pages, potencially connected (Yoga), but what is missing the Stirnir's concept! Max Stirnir (Marx' contemporary and adversary) writes about "Ego" and the final stage of overcoming it (simular to Buddha), the essential aspect in advanced acting training. It's not an accident that late Stanislavsky was so interested in esoteric philosophy (Guerdiev, Blavadsky, Rerikh) - like in shamanism, the highest moment of performance is not a performance at all. Overcoming the mortality, breaking into the divine and sacret. This is where actor becomes an artist.
Here is another problem. Theological. Freud, Marxism and everybody else believe that "Id" is the deepest, uncontrollable and dark animalist foundation of our inner structure, but what if Christianity is indeed correct and this is the place of God? ("God inside you") - what if the unknown is the superior universe in our soul-scape?
Augustin writes about the angelic nature of man, but I have no time for "research"...
"SELF" -- my book I work on right now: nonfiction.
Theories of the Theatre: A Historical and Critical Survey, from the Greeks to the Present
Dr. Carlson does the remarkable by condensing the dominant Western theatre ideals and theories into a series of chapters. Major names and works are cited along with the theories. While a work of this sort cannot go into great detail, this book is a must have for anyone interested in theatre history and theory.
Professing Performance : Theatre in the Academy from Philology to Performativity (Theatre and Performance Theory)
Contemporary academic discourse is filled with the word "perform". Nestled among a variety of prefixes and suffixes (re-, post-, -ance, -ivity?), the term functions as a vehicle for a host of inquiries. This development is intriguing and complex for students, artists, and scholars of performance and theater. By examining the history of theater studies and related institutions and comparing the very different disciplinary interpretations and developments that led to this engagement, this study offers ways of placing performance theory and performance studies in context.
2005 * After so many years of webbing I cannot change the nature of my webpages -- they are what they were from the start; notes, thoughts, points I make for myself for classes and productions. Do they have an independent existence? Maybe, somewhere in the future...
Chekhov, Ibsen, Bard, scripts
Film-North * Anatoly Antohin * eCitations
