* 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 Generation of Theatrical Students - On the Old School of Acting - A Letter to Ellen Terry - Yvette Guilbert - Sada Yacco - New Departures - The Wise and the Foolish Virgins - To Eleonora Duse - Ladies, Temperament and Discipline - Part IV - The Copyright Law: A Suggestion for An Amendment - The New Theme: Poverty - The Voice - Theatrical Love - Realism, or Nerve-Tickling - The Poet and Motion Pictures - The True Hamlet - The Futurists - Fire! Fire!
The Director and the Stage: From Naturalism to Grotowski by Edward Braun; Holmes & Meier, 1982 - I. The Meiningen Theatre - 2. Antoine and the Theatre Libre - 3. The Symbolist Theatre - 4. Alfred Jarry - 5. Stanislavsky and Chekhov - 6. Edward Gordon Craig - 7. Max Reinhardt in Germany and Austria - 8. Meyerhold - the First Five Years - 9. Meyerhold - Theatre as Propaganda - 10. Piscator in Berlin - Ii. Brecht's Formative Years - 12. Artaud's Theatre of Cruelty - 13. Grotowski's Laboratory Theatre
Notes on Directing amazon *
2007 class -- google.com/group/directing
Two pages in Theatre Theory -- director and directing -- about this new profession (one hundred years). Since I can't touch the "metaphysics" of directions in my classes, I moved the subject of this phenomena to The Book of Spectator, but spectator-as-director is only a part (maybe the main one) of spectatorship. I afraid that I can't get deeper, unless I am to begin the introduction of POMO (postmodern) terminology. And here is the problem: I do not have pages on the use of PM theories for theatre. You can see htmlgear with the POMO terms, but no guidelines for applications (not even in this "theory" directory). Perhaps, this is another reason, why I can't work on Virtual Theatre pages: practical use of the new mediums (live performance, film, webcast). Well, nevertheless, we have to move on...
Thinking about Bergman and reading philosophy books... I talk about film-directors only because directing film is the extreme expression of this profession.
Bergman has too many talents. He writes and writes well. He directs for stage. This is not good for a filmmaker. Film director should be like an artist or a musician, they don't write or dance. Film directing asks for self-limitations. No, I don¡¯t believe in actors-directors.
If a director can express himself in words, he should have enormous self-discipline. I always wanted to stage "Wild Strawberries" -- it has a lot of theatre structure. I won't do it with 8 1/2 (unless it's an experiment like with "Potemkin" in France).
I consider the big film directors to be new philosophers, the postmodern type of discourse... feeling=thinking.
Art always had philosophy in it, but the subject of "War & Peace" is not philosophy. Films, even movies, because of the technology build-in, do have IDEOLOGY in everything.
Film is musically organized, but unlike music the last structural principle of Aristotle -- the Idea -- is the form! Film is a THOUGHT.
"Watching"? Experiencing the thinking, a living reasoning...
It's ONE idea demonstrated in two hours. They say film is dream-like, but what are my dreams if not THINKING while my brain sleeps? So, it is thinking without thinking! Pre-thinking? Or maybe PRIME THINKING, the only thought process where I do not control it -- and do not lie!
...when I am free from myself... as if God speaks through me!
Ideology is one-dimensional. The Idea-Drive, excluding the rest, because it's full of desire, or WILL as Nietzsche would say. Of course, it's POWERFUL.
Each good film is a state of mind. It has to be static in order to have evolution within. Film is the STOPPED TIME (Faust), only then we can experience time (Deleuze + Bergson, time, duration and memory). Eisenstein with his dialectics called it "spiral" structure, when we return over and over again. To the same face for example (CU), as if the eternal return (Nietzsche again). How else can we keep time frozen?
The After-feeling: "lost time" (as if I didn't live for two hours). There is no time in eternity. [Eternity is a questionable idea; life denounce it.]
Film is experience (see cultural studies and Baurdaugh). film doesn't exist outside of being consumed and consuming. It's not about "understanding" -- there is nothing I do not understand because I SEE everything.
In that sense film is anti-intellectual experience as we know it. Post-human, or pre-human.
Film is language I can speak with animals (and we will when we master 3D technology). It's REAL. Not just a "reflection" of reality as it was with art before, but the reality itself. Resurrected and immortal reality.
Film is nothing but SELF. That is what resurrected world is about -- it doesn't exist outside of being SELF, i.e. it's subjective reality. There is no division between subjective and objective anymore, SELF is both. My feelings are very OBJECTIVE, pain is extremely real. The so-called "objective" world follows the logic of Kant; it is a thing-in-itself. Film is only now considered as art form, in the future it will the art-of-living. Of course, each his film is about Bergman. It is his self-portrait of inner-world. The filmmaker doesn't have to be on the screen (I do not see myself in my dreams), I am always the center of drama. Everything focused on me and about me.
Self-centered, introvert existence. Read again Heidegger: Being is Becoming and Becoming is Being. There is no Being outside of this process, no existence without being the time itself, without becoming the time.
Heidegger on Nietzsche (Chapter 8): Will as Affect, Passion and Felling. Another tupe of logic. (from Volume I: The Will to Power as Art).
"Nietzsche" -- the name of the thinker stands as the title for the matter of his thinking -- the first phrase in the Foreword.
Knowledge is supposed to be private and personal. Film in itself is the act of WILL to POWER.
Film is the pick of meditation!
Greeks: psyche is "soul" -- that is the material and method of film. Heidegger (p. 61):
Will to power is never the willing of a particular actual entity. It involves the Being as essence of beings; it is this itself."My SEEING the world is outside of my will, it is The Will to Power which is I. The power of film in it. The SEEING is this resurrection (becoming=being). Hegel would say the self-realization of the Spirit ("energy of thinking, the pure ego").
That is the subject of film and Bergamn makes it into HIS subject. Not just abstract "being" but his own being equated with the Being.
There is no world without or outside this personal and private Being, no truth without THAT truth. That's is concrete enough to be true.
We say -- camera...
My personal resurrection can't take place without participation of all (technology). There is not enough technology yet, we are not ready...
We are getting there... Let me get serious.
Yes, this is Director's POV: play -- director (show) -- public
Director is in the middle! Spectacle is the TEXT, director "writes" -- at the beginning of the show your public is canvas... No, better say, a piece of marble (expectations, opinions, experiences are inside -- and you have to work with it, it's you material for producing dramatic experience in their minds and hearts).
[ I fool myself, when I call the pages of this directory "Theatre Theory" -- no, this is "Directing Theory"! Every time you see the color triangle (left) -- you are on the page about directing. ]Directors Lab Lincoln Center Theatre
Strange, film has 100 years of history, but the theory of film is rather well developed. Theatre has at least 25 centuries of existence, but this is mostly about DRAMA. How come?
Maybe bringing film theory in could help to establish the basics of Theatre Directing Theory. The only place where I talk about it the THR331 Directing class. The drama analysis is at script.vtheatre.net and the "Super-Text" is in The Book of Spectator.
Could we change our formula?
Directing = drama + actors + spectators
In film theory it's obvious that spectator is the final organizational mechanism of the cinema phenomena. In theatre somehow it's not established.
@2000-2005 filmstudy pages *
projects: Demons 2003
texts: Theatre History
in focus: Taming of the Shrew
Theatre Books list *
reading: Theatre Theory
play writing amazon list *
vTheatre: pomo project'06 * my yahoo: theatre
Film-North * Anatoly Antohin * eCitations
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