I direct and teach directing (and acting as a result of it), therefore all my pages and classes are with this "directing" agenda. I come from the school of "director's theatre" and could be considered as an "agressive" director (especially, because I write plays too). I do not believe in director=SM and you won't find much on my pages about the little things any director must know (you can find it in many textbooks on directing, which are already written and published). My aim is different: director as an artist. The theory, of course, is about the artistic side of this profession.
The philosophers are in; the Plato Academy (my casting) and the Platonic Girls (my preferences). I need help from both groups. Thanks to POMO writers, I do not have to talk about different ways of the philosophical discourse (experience as knowledge, or feeings as thoughts). Nevertheless, I probably have to spend some time dancing around the NEW methods of analysis. As you noticed I had to split "theatre" into three (at least) groups already: performance, directing (spectacle machine) and drama. Each has it own way of communications and several languages within. In this part two I must write about different ways of directing the mind-heart of spectator: light, sound, mise-en-scene, prop, set and so on. Each medium has its own laws and principles.... but I haven't described yet the common elements in acting, directing and drama.
I do not know which zone is the most complex: acting, directing? I am not an actor and I have to speak about "acting philosophy" from the director's and writer's POV. Director is in middle and the languages of directing are include performance medium and drama (written theatre).
You see, I began my webbing knowing nothing about it, therefore only later I understood that I better make directories and subdirectories (this directory is also a result of this discovery; read Webman's Diary). Next -- the directory splitted in three parts (for now): Performance (Acting), Directing -- and the last one: Spectatorship.
Now, let me be personal. Or postmidern. Do you believe that you direct all the movies you see? Be honest. I hope that you know about your acting in the movies -- you drive in that chasing car, throw the punches... yes? Please, don't lie to me. It's between you and me. Why would the porno industry exist if not for the millions of actors, who watch it, the movies?
"Yes, yes! Tell us about it, boy! Talk dirty!" Plato cried.
"And who are those gentlemen?" Aristotle pointed at Bakhtin and Neitzsche.
"Mr. Bakhtin and Gerr. Neitzsche," I said.
"Come on, guys! Get something to drink!" Plato got another bottle. Well, it was in class, you know, and we all were old men -- what else was left for us in life, besides thinking and drinking?
...
PLATO. My boy, truth and nothing but the truth! Right? We all are losers. Look around -- what do you see? Do you see a single woman? That's right. We are together, we think -- because we don't have them -- the women. What kind? Not "women" -- but goddesses! Athena, herself, nothing less. Do you understand it, boy? Do you digg?
The tears were running down on Plato's old face.
NIETZSCHE. I do. I understand it, man.
PLATO. I don't need just another woman, I want her! Once she came in my dream and touched me... you can't forget it...
ARISTOTLE. You are breadking my heart, damn you! I thought that you are a friend...
PLATO (drtinks). Why do you think I am so smart? Because of this touch! That's why! Do you know how smart one has to be to get a goddess?
"You are old and ugly," said somebody. "We all are..."
Part II is about directing: theatre -- StageMatrix and Film. Of course, you better go to the subject pages for theory.
I am not a scholar and write abouit theory only when it's absolutely needed. I write about directing theory mostly because very little is written on the subject. And because of the shadows of two directors -- Meyerhold and Eisenstein.
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