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2009 : Caligari and TIME issues for directing class

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NEW: * NEW: goto.txt : AFTER 2009 : LUL pages : 2006 * * 100 years since Sam Beckett's birth * * 2007 : the art of theatre [flickr] * 2008 : Stoppard *



... Sense of Time vs. Sense of Space

2009 : Lul Theatre & School

TOPICS: drama + comedy + postmodern + american age + space + time + chronotope + direct + event theory + present + sex + past + marxism + shows +
Williams: It haunts me, the passage of time. I think time is a merciless thing. I think life is a process of burning oneself out and time is the fire that burns you. But I think the spirit of man is a good adversary.

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Beckett in Directing Class script breakdown

Godot biblio notes

Acting One
Fundamentals : BioMethod

HamletDreams 2001: mindscape
Directing Showcases
3 Sisters, Mikado, 12th Night, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
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Theory: Time
I have the same subject page in Biomechanics directory, but I am using chronotope, space and time categories in all my classes and I better explain the fundations of those principles.

"Subjective Time" (see also Film Theory pages) and "Dramatic Space"... Both coould be understood only if we can grasp the idea of "Stage Event" (simular to the concept of "screen event" -- deconstructed and artistically reconstructed "events"). There more in depth pages in The Book of Spectator (The Event Theory).

According to Eistein, we can view space, time and matter separatly: this is why we need to get the idea of chronotope (Bakhtin). But do we consider "matter" in theatre theory?

... "Beckett's characters all move through a universe where time and space are ever-changing, strangely repetitive, yet somehow always diminishing.The goal of their journeys is either perfect perception or an end to perception, both unrealizable aims that are merely two sides of the same nonexistent coin. They are shown nearing these goals, coming closer and closer to an end that always remains just out of their grasp. Beckett often suggests the approaching end by his characters' faded, deteriorating, colorless physical appearance and their somber costumes, as well as by the bareness and black/white/grey color scheme of the stage décor and lighting. His men and women frequently take refuge in enclosed interior spaces whose windows look out onto nothing, and they refer to colored, vibrant, natural landscapes as irrelevant vestiges of an unretrievable past. The language of the texts refers constantly to the end, and the volume and tempo of the sound, as well as the intensity of the lighting, often diminish as the plays draw to a close." [ The Broken Window. 153 ]

"Beckett employs an equal if not greater number of techniques to dramatize the improbability of ending. Just as his plays almost always begin by breaking in upon the characters in the middle of a situation that seems to have been going on forever, and make frequent references to the ending from their very first lines, when they end, they leave us with much doubt as to whether what we have just witnessed has actually come to a close. The visual and textual similarities of the beginnings and endings of Beckett's plays formalize the indefinite boundaries of the time and space that inform them. These dramas all appear to portray merely abitrarily selected segments of their characters' lives, which, since they are sustained by an interminable process of self-perception, do not depend upon the spectators' physical arrival and departure for their existence. Obviously, on one level, they do—given the nature of theater as a public spectacle in an appointed place that begins and ends at conventionally agreed upon times, which even Beckett has not been able to circumvent, every Beckettian performance must start and stop at given moments and his fictional characters must pass in and out of existence before our eyes. Yet Beckett manages to accept these constraints even as he strives to overcome them. While we "know" that a certain play has begun or ended, Beckett makes us doubt the reality of our perception.He blurs the boundaries between the first and last moments of the play, between tonight's performance and tomorrow night's, and between one play and the next to such an extent that we question if the process we are perceiving will ever reach a conclusion." [154]

Einstein' formula: E = mc2?

No "space" and "time"?



Structure Your Physical Action!
Time in Dramatic Theatre and Epic Theatre [ ... ]
Stagematrix: Part IV. Directing Public
check it out:


3. The Contextual Dimension of Drama: Spatial and Temporal Isolation.
The Stage as Confined Space.
Presentationalism vs. Representationalism.
Fixed, Fluid and Floating Stages.
Concentrated vs. Comprehensive Dramaturgy.
Theatre of Illusion vs. Theatre of Communion.
Fundamental Sources of Tension in Space.
Further Sources of Tension.
Tensions Deriving from Temporal Isolation.
Tensions Among Characters.
The Full Array of Potential Tensions.

4. The Temporal Dimension of Drama.
Progression in Time.
Segmentation of Time: Formal and Organic.
Shifting Tensions: Examples of Organic Segments.
Phases of Dramatic Action.

[ from "Page and Stage" ]

* THEMES and other related pages in

2006: Godot showcase


[ biblio Godot: The Broken Window: Beckett's Dramatic Perspective by Jane Alison Hale; Purdue University Press, 1987 ]


Godot'06 Files Notes

2007 Utopia Project

Next: 3texts
@2000-2003 index *


Genres ShowCases: Hamlet (tragedy), Mikado (opera), 12th Night (comedy), Dangerous Liaisons (drama)

(c)2005 *

subjects : space * time * chronotope * acting * director * semio * theory * history * audience * themes *


The Image of Eternity: Roots of Time in the Physical World by David Park; University of Massachusetts Press, 1980

The Semiotics of Theatre and Drama by Keir Elam; Routledge, 2002

History as Time (The Possessed) -- Terrorism and Modern Drama by Dragan Klai, John Orr; Edinburgh University Press, 1990

[THR413 ?] The Playwright as Thinker, a Study of Drama in Modern Times by Eric Bentley; Reynal & Hitchcock, 1946 - 1. the Two Traditions - 2. Tragedy In Modern Dress - 3. Tragedy In Fancy Dress - 4. Wagner and Ibsen: - 5. Bernard - 6. Varieties Of - 7. August Strinberg - 8. from Strindberg To Jean-Paul Sartre - 9. from Strindberg - 10. Broadway--: And the Alternative

+ Modern American Drama, 1945-2000 by C. W. E. Bigsby; Cambridge University Press, 2000 - Chapter One: The Absent Voice: American Drama and the Critic - Chapter Two: Eugene O'Neill's Endgame - Chapter Three: Tennessee Williams: the Theatricalising Self - Chapter Four: Arthur Miller: the Moral Imperative - Chapter Five: Edward Albee: Journey to Apocalypse - Chapter Six: A Broadway Interlude - Chapter Seven: Sam Shepard: Imagining - Chapter Eight: David Mamet: All True Stories - Chapter Nine: The Performing Self - Chapter Ten: Rede.Ning the Centre: Politics, Race, Gender - Chapter Eleven: Beyond Broadway

... Actor controls time on stage, director only provides "directions" (for time). Back to playwright?



... Total Directing Up-level

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