4. Directing Public [ Orchestration of Narratives ]
... Public MUST be included in Director's concept [ main motivation for producing "this" script/story
"Your Story" into THEIR story [ their experience )
Examples from my latest production of "Rosencrantz and Guildenstern are Dead" 
Spectator Directs [book of Spectator]
... stagematrix.com [ to continue ] Anatoly After 2009
Part 5 ?
ęActors work to all intents starts after the premier. I believe that a performance is never ready in premier. And that is not because we didnít have the time to, but because it matures only in front of the audienceĽ. -- Meyehold
Broadway tickets at TickCo. Get the best available Mary Poppins tickets as well as tickets to Wicked and Disney's High School Musical tickets.
Public = Director: "Theatre of One" -- Read The Book of Spectator
DoD: Arthur Hopkins Capturing the Audience (205)
Read Part 3. Director at Work in your textbook!
In comedy, beware the split focus. The audience should focus on the face of the actor. The audience must see the setup. If there is action elsewhere on the stage, the comic line can be lost. James Carver
SummaryPUBLIC: adjective * Etymology: Middle English publique, from Middle French, from Latin publicus; akin to Latin populus the people * Date: 14th century * exposed to general view
QuestionsWhat's the difference -- public and audience?
NotesThe Workshop Concept: Long rehearsal periods were central to the development and practice of the famous Stanislavski System. The word system evokes the scientific world of laboratories, processes and production. All of the major theatre directors of the twentieth century in the West considered the most important part of the theatre; it was central to the creative and/or critical impulses that drive live performance. In the 1970s Polish director Jerzy Grotowski developed the notion of the theatre laboratory as a place separated from the banality of the everyday, and a place of ordeal, endurance, extreme physicality and a place where the human soul was explored in all its rawness. Increasingly the rehearsal has been separated from theatre in so much as it is not always motivated by rehearsal of a play for performance.
Show as a Dialogue *
Part 3 REVIEW (using some film fragment):
Mise-en-scene involves 'setting', 'lighting', 'costume', 'make-up' and 'the behavior of the figures' (the art of the theater). It is the director's staging of the event. It is everything you see on the screen. In our reading of a film, we need to pay attetion to the functions of mise-en-scene (163-64).
Lighting is a very important aspect of mise-en-scene. We normally notice the shadows first. There are two basic kinds of shadows: 1) attached shadow or shading and 2) cast shadow (171). Shadows create special senses of film space (e.g., depth and volume as discussed on page 186).
Lighting can be discussed in terms of its quality, direction, source, and color. Hard lighting creates clear shadows, while soft lighting doesn't. The directions of lighting -- frontal lighting, sidelighting, backlighting, and underlighting -- also give very different effects, such as silhouette or sense of horror (172-73), Edge lighting or rim lighting put the figures in focus. Three-point lighting--frontal key light, back light, and fill light to get rid of shadows -- is widely used in Hollywood films. Basically, it's what we call 'high-key lighting', which is meant to render a brightly lit situation, not contrast as low-key lighting is used (such as in 'films noirs' or many art films).
There are two basic aspects of acting: it can be individualized or stylized. Individualized performance means the actor brings in his or her own individual characteristics to make the acting unique. However, many films, such as comedy, require that the actor or actress to follow the certain traditions of styles (like grotesque and exagerated performance in a screwball comedy, or in the so-called 'type casting' which looks for certain types of acting). The acting then has to be highly stylized (179-80).
Mise-en-scene in space and time directs our attention to certain aspects of a film while we watch. We notice the use of color (such as the difference between warm colors and cool colors), depth of the plane, the relations between the foreground and the background (such as aerial perspective, size diminution, or liniar perspective), and the figures' movement. [ * ]
"Liberal arts' students bring to directing the breadth and rigor of their general education. We may not be able to teach the creative impulses in the individual that makes a director. But we can help the individual discover and use those impulses." *
* Wedding: class project -- finals *
2005: The purpose of my online production books was to assist myself, cast and crew during pre-production and rehearsal periods. After the show is over I use webpages for my classes: directing, acting, drama.
Theatre Books Master Page *
Show Box Score:
The Director and the Stage: From Naturalism to Grotowski by Edward Braun; Holmes & Meier, 1982
The Work of Living Art: A Theory of the Theatre by H. D. Albright, Adolphe Appia, Barnard Hewitt; University of Miami Press, 1960 - Adolphe Appia and "The Work of Living Art" - Preface - 1. the Elements - 2. Living Time - 3. Living Space - 4. Living Color - 5. Organic Unity - 6. Collaboration - 7. the Great Unknown and the Experience of Beauty - 8. Bearers of the Flame - Designs - Adolphe Appia's "Man is the Measure of All Things" (protagoras) - 1: Biography in Social and Artistic Context - 2: Summary and Analysis of an Actor Prepares - 3: Description and Analysis of the Seagull - 4: Practical Exercises - Conclusion - A Brief Glossary of Terms - Selected BibliographyThe Theory of the Theatre: And Other Principles of Dramatic Criticism by Clayton Hamilton; H. Holt and Company, 1910 - The Theory of the Theatre - Ii The Psychology of Theatre Audiences - Iii The Actor and the Dramatist - Iv Stage Conventions in Modern Times - V Economy of Attention in Theatrical Performances - Vi Emphasis in the Drama - Vii The Four Leading Types of Drama - Viii The Modern Social Drama - Other Principles of Dramatic Criticism - Ii Dramatic Art and the Theatre Business - Iii The Happy Ending in the Theatre - Iv The Boundaries of Approbation - V Imitation and Suggestion in The Drama - Vi Holding the Mirror Up to Nature - Vii Blank Verse on the Contemporary Stage - Viii Dramatic Literature and Theatric Journalism - Ix The Intention of Permanence - X The Quality of New Endeavor - Xi The Effect of Plays Upon the Public - Xii Pleasant and Unpleasant Plays - Xiii Themes in the Theatre - Xiv The Function of Imagination
last part -- YOU... (not "why" and "how", but "Who")
MONTAGE = spectator
Tell me and I will forget
show me and I may remember
involve me and I will understand.
Spectator is the PLACE, where the show takes place. He is your final medium, director. Everything we did so far was to produce the music in heart, to bring up his fears, hopes and visions. Yes, we end where we began, but now it's not you, it's him to experience the living...
"The director is simply the audience. . . . His job is to preside over accidents." Orson Welles
4.23.2002: we opened Dangerous Liaisons... There is another director in my place -- you, dear spectator.
Lesson I : Spectacle and Spectator
Lesson II : Showcases Dangerous Liaiasons
Lesson III : Drama -- 3 Sisters
Lesson IV : Rehearsing the Public
Lesson V : Tech and Run-through
Lesson VI : Final Scenes Checklists and Presentations
[ back to FORUM -- google.com/group/directing ]We live in the world of assamptions; we think that people should understand us, that we understand what we feel and think... It's only human, unless you are a director! Here everything becomes visible, because it's the SHOW business. Suddenly, you realize that everything "obvious" is not obvious at all. Not only they do not understand what you mean, they misunderstand it! Don't point your finger at the public... if you are a director.2007
Part Six -- Director and the Theatrical Space (Director's Eye, 2003 textbook): references back to 4 (Style and Viewpoints) and 5 (Collaboration). Mise-en-scene and constructed chronotope are the given surcumstances for the public. Remember, there is no show (spectacle) without our public becoming a part of it. Spectators are the engine and energy of the show. Invision the spectator as a focal point of dramatic action.
Main task is to arrange the (silent) active dialogue between actors and spectators (details on physical oerganization of action -- biomechanics.vtheatre.net, psychological aim -- method.vtheatre.net, The "Golden Triangle" Rule ).
How to make "spectators" work? If they don't, your show won't.
Remind yourself that the final act of the process takes place in the minds and hearts of the public. Remember that you are directing thoughts and feeling of your audience! Everybody on stage must understand that the actual "stage" and "action" is the house!
Last part (7) -- The Whole Picture (textbook). If you did it right, the show will grow by itself....Maybe you are sick of my "love stories" -- but nothing I can do without talking about the biggest love of all. Yes, the writers, actors, designers -- we all -- are with love with them, the strangers. The souls we never knew and the hearts which will go away after the show into this big, endless life without becoming our lovers...(c)2004 Spring: Film Directing class *
Is it so? It's so sad, Anatoly. Will we see them again? Will they ever talk to us? I see it the eyes of my actors. What could I say -- I am one of them, the main spectator; I have to speak for them...
[ The Stage Management Handbook by Daniel Ionazzi, ISBN 1-55870-235-0 ] manager notes *
What we need is a new kind of theatre... We need new forms.... I don't want to show life how it is, or the way it should be, but the way it is in dreams. Treplyov/Meyerhold, The Seagull (1898)
[ * the bridge between film & stage directing: read The Book of Spectator * ]
-- You have empowered hundreds of actors, and in a sense a lot of audiences because of the kind of plays you put on and the way you put them on. Have you ever entertained the idea of yourself as someone who went out to people and gave them a strategy, empowered them to find the truth in their own minds or to glide smoothly from the pressures of their daily lives to a theatrical experience which might give them insight and make living that bit easier?
Peter Brook (PB): I think itís a very important question. For ten to fifteen years around the 60s, this was a very central idea. People were going out in all directions, working directly in the community, to the point where the idea that a theatre was in any way a special place was being blasted open. The idea of an audience participating directly, being part of the theatre action became more and more widespread, and we did a lot of this at the beginning of our Centre. We played constantly for three years, but never in a theatrical context. We worked in different ways with people, with children, anywhere within a living context. I came to a conclusion, which like all conclusions is a personal and provisional one. That is there are special experiences which maybe can change a life, which demand special conditions, like exceptional concentration. When there is exceptional concentration, the experience can go farther. There are great liberating experiences. For instance now, with this big audience, there are lots of games we could play that would fill the theatre with energy. We could do vocal things, shout, sing, do a sing-song together that would give everyone a very warm, rewarding experience. But that couldnít be as memorable and as special as if you all participated in another way. Because participating isnít only joining in. I think this was the trap of 60s thinking, that joining in and doing the same thing as the performers is participating. There is another form of participation. The fact that an entire audience can be riveted in silence on one actor standing in the middle of this stage and saying a few words Ė for instance a soliloquy from Hamlet Ė but saying it in such a way that he touches everyoneís imagination. Each person listening is taken beyond himself and feels "Ah, this is something about my own deepest feelings that Iíve never known, and this person standing there is speaking for me and helping me to know something I couldnít know without that". If that happens, the audience isnít just passive.
The audience is drawn in and is participating, and that becomes a special experience. I think this is really what one must demand of the theatre. One must respect and encourage everyone who wishes to improve social conditions by using theatre techniques. But you must recognise that one doesnít rule out the other. A playhouse is not important in its own right; it is only valuable because a large number of people can see and hear at the same time. Thatís why a playhouse where people are in a circle is better than a proscenium theatre. Because the relationship is more human. Itís the specialness of experience, which doesnít often happen, that is the reason for this form of theatre having its place.
Also, read Peter Brook *
"Backwards and Forwards: A Technical Manual for Reading Plays" by David Ball
projects: Oedipus 2005
new: Taming of the Shrew 2004
missing: film acting
Directing Style -- next part? Use film directors (more obvious): Bergman or Tarkovsky, for example. What does constitute an individual style? POV on values? Unique perception of the world? "Voice" -- in literature. Special theme(s)? Style is the place where form and meaning become one. Rediscovery of the old -- story, genre, myth? Again, the old dilema: discovery or invention? Both. [I must start from the Script Analysis pages.] George Black : Contemporary Stage Direction
... What do I do now? DIRECT! See Don Juan 2003: comedy showcase for directors.
What is the difference between Public, Audience and Spectators?
Vocabulary Terms Producer Director Assistant director Prompter Scenic designer Technical director Stage manager Grip Properties chief Business manager Publicity manager House manager Promptbook Audition Reading rehearsal Blocking rehearsal Working rehearsal Polishing rehearsal Technical rehearsal Dress rehearsal Group Activity 1. Create a chart with the names of each job involved in producing a play Producer Director Assistant Director Prompter Scenic Designer Technical Director Stage Manager Properties Chief Business Manager Publicity Manager House Manager
\----stage------/ \-------------/ \-----------/ \---------/ \-------/ \-----/ \---/ \-/ /\ /--\ /----\ /------\ /--------\ /----------\ /------------\ /----public----\
Play Directing by Dean and Carra [ ]
A towering and bizarre personality, shrouded in legends and myths, an object of both hatred and veneration. .... Meyerhold earned worldwide renown in his lifetime, but his end was that of a martyr. Twentieth-century theater is unthinkable without Meyerhold..... Alla Michailova
new (2006): part 4. Total Directing
+ Book of Spectator
[ ... ]
new (2006): part 4. Total Directing
+ Book of Spectator
[ ... ]
2007 An online course supplement * Film-North * Anatoly Antohin * eCitations
© 2006 by vtheatre.net. Permission to link to this site is granted.
Theatre DIRECTING amazon 5. Shows