It’s difficult to avoid the future. ~Oscar Wilde
2009 -- last UAF live class
... Summer 2010 :
DÉNOUEMENT * The moment in a drama when the essential plot point is unravelled or explained.
Broadway tickets at TickCo. Get the best available Mary Poppins tickets as well as tickets to Wicked and Disney's High School Musical tickets.
Beside directing Dangerous Liaisons, main stage, in 2002 I will be busy with the new beast webshow "HamletDreams" (2002 in-progress as the model of the web-directing). All pages are linked, but you might check Research Directory on vTheatre and vPublic, if interested in theory.
Maybe it's me, but I go back to film directing thinking, when I have problems with the composition on stage. And the same with the filmmaking.
We do not offer Advanced Directing anymore, instead you have to take Senior Thesis; consult your advisor!
There must be a page I made on senior thesis in directing....
... "Now or Never!" (my monologue to theatre majors from "Memebers Only")
If you are done with Stage Directing, go to filmplus.org: film directing pages!
SummarySince my webbing began as the notes to myself ( for the classes I teach), I tried to keep it this way -- to write only what I can't find in the textbooks. If you need the basics on directing, go and get yourself a textbook (I assign different ones every time I teach THR331 Fundamentals of Direction, see Theatre UAF or/and my online calendar). Oh, yes, I will continue the writing on Stagematrix's issues in a different place under the working title "Direct: Members Only" (consider it as "Advanced Directing"). Most likely the pages won't be ready until the next year (2004). See you there.
QuestionsWhat about Film directing, Anatoly? Check Theatre UAF official site and see, if I teach it next semester.
NotesMeyerhold @ Work *
Acting & Directing Classes Final Presentations: Friday, May 2, 2003 Free!
"A five-year course includes the following subjects: playing with objects, history of art, history of literature, theory of theatre, psychology, working with actors, analysis of drama." (The Puppetry Department of the Aleksander Zelwerowicz Theatre Academy in Warsaw)... this is how long it takes to train a director. At least, the old fashion way.
UAF Students! Please go to: http://classes.uaf.edu + Log in to Blackboard, choose "THR 190 / Auditions and Portfolio Review" and complete the online Outcomes Assessment form under the "Assignment" tab.
* After the production, they are required to submit written evidence of their research, analytical work, concept formation, a critical self-evaluation and the promptbook record of the process.
A chief reason theatre is a difficult teaching field is the broad range of subject matters it includes. When the dramatic arts entered American education early in this century, programs dealt with selected parts of this range. As the teaching field became more widely established, more and more of the extraordinary diversity of theatre found its way into curricula. At the present time, the variety of studies conducted by theatre programs has reached an extent beyond the ambitions of the pioneers of theatre education. [ Master Teachers of Theatre: Observations on Teaching Theatre by Nine American Masters by Burnet M. Hobgood; Southern Illinois University Press, 1988 ]
More than a generation ago, when all of American education expanded remarkably (after World War II), the number of theatre programs at all levels grew as well. Expectations of theatre curricula both widened and deepened, especially in colleges and universities. Administrators found their programs criticized if they did not treat all important aspects of theatre, with the result that more and more educational institutions authorized enlarged curricula with highly specific instruction. The generalists, who had been expected to conduct instruction in several areas, now focused their work on one or two subjects. The most desirable teacher came to be one trained and tested through professional experience to deal with a narrow segment of theatre -- in a word, a "specialist."
... In 1967, the picture was even more detailed. More than 1,000 four-year and two-year colleges provided instruction equivalent to a major or minor in theatre. The number of undergraduate majors had tripled in the seven years, and well over 26,000 students took several classes in theatre programs. Classes for credit had increased by 71 percent to more than 12,000 separate offerings. Only a few more students participated in production activities than in 1960, but institutions employed three times as many theatre faculty. Obviously, more undergraduate programs had come into being.
[ and Carl Weber
2006. Total Theatre: an attempt to bring stage and film directing classes together... If possible.
6.18.06. new? At least, for now.
The pages are overloaded.
Theatre UAF BA directing
Film, Stage and Television Director Occupation Information [ au ]
2007. 2008 -- meyerhold.us
After 2009 -- teatr.us
There is more on directing in Theatre Theory, in The Book of Spectator, Film Directing 101 and Virtual Theatre.
Director as Critic2007 ...
2008 Spring --
...There are two things you have to work on: one is your show, another -- you yourself (lifetime learning). If you really want to move ahead, you have to be your own toughest critic. One thought I keep repeating in class: "Be Personal"! Examine the very origins of your interest in the script -- how does it express your feelings and thoughts about life? If it's not extremely personal and important, most likely you won't get much of the show.Directing Actors: Creating Memorable Performances for Film & Television Directing film or television is a high-stakes oppucatiopn - the white water rafting of entertainment jobs. It captures your full attention at every moment, calling on you to commit every resource and stretch yourself to the limit. But for many directors, the excitement they feel about a new project tightens into anxiety when it comes to working with actors. Directing Actors is a method for establishing creative, collaborative relationships with actors, getting the most out of rehearsals, troubleshooting poor performances, and giving directions that are briefer and easier to follow.
"Why do you want to do this scene? What is there for you?"
Of course, they play it back right away: "Why do you direct 'Don Juan'?"
That's the point. Every time I come home after the rehearsals I ask this question. This is the great cycle a director circles all the time, even after the show is over. Yes, "Don Juan" must be about me, about my life, my thoughts and secrets. Very much like every artist lives. Why "Don Juan" now? (Read my DJ pages in shows.vtheatre.net/dj). Why DJ and not other titles on my wish list?
"Anatoly, what do you plan to direct next season?"
Well, something wich will continue what I wanted to find in DJ... Oh, I even know what I am getting...
DJ is alone, there is the price to pay for independence. The hell at the end is the metaphore. My entire life I wanted to live "my way" -- and much am I ready to pay for this individualism? No, we can't have it both ways. And how far are you willing to go on this road of "free" thinking? What are the extremes of the free will?
.... Remember, "Artist = Creator + Medium"? "Creator"? Oh, this is a living soul, which feels strong and looks at itself to understand the world around....The following issues are discussed: * what constitutes a good performance * what actors want from a director * what directors do wrong * script analysis and preparation * how actors work * the director/actor relationshipDirecting Actors is the first book of its kind. Judith investigates in detail the sometimes painful, often frustrating, but potentially exhilarating relationship between actor and director. It provides simple, practical tools that directors and actors can use immediately - and takes the reader on a journey through the complexities of the creative process itself.
Although one chapter is entitled 'Result Direction and Quick Fixes', the tools and suggestions of the book are now superficial band-aids or facile jargon; they are radical excursions into the perhaps most misunderstood artistic collaboration - that of director with actor.
Judith Weston brings to this book twenty years of professional acting and nine years of teaching Acting for Directors. Her students include academy Awards and Emmy winning directors, writers and producers of studio and independent feature films, television episodics and MOWs.
* The first book to directly address directors about working with actors
* Offers practical techniques in managing the director/actor relationship
Next: Intro Total DirectingThe Roots of Theatre: Rethinking Ritual and Other Theories of Origin (Studies in Theatre History and Culture)
NBCompare Stage and Film Directing (use your scene): read filmplus.org/film pages (take the class "Film Directing").
Submit your Director's Notebook (guidelines in class, what must be in). Reading the Material Theatre (Theatre and Performance Theory) Reading the Material Theatre develops and demonstrates a method of theatrical performance analysis that takes into account the entire theatre experience, from production to reception. Beginning with semiotic and cultural materialist theory, Knowles quickly moves into detailed politicized analysis of the ways in which specific aspects of theatrical production, and specific contexts of reception, shape the audience's understanding of what they experience in the theatre. It concludes with five case studies of the cultural work performed by a major Shakespearean repertory theatre, a small nationalist theatre devoted to new play development, a major New York-based avant-garde touring theatre company, a British socialist company dedicated to the work of Shakespeare, and a range of international festivals. This accessible volume provides a first-step introduction to key terms and areas of performance theory, including reception history, performance analysis, and production analysis.
"The great composer does not set to work because he is inspired, but becomes inspired because he is working." - Ernest Newman
Space in Performance : Making Meaning in the Theatre (Theater: Theory/Text/Performance) How real and imagined theatrical spaces and the relationships between them evoke meaning.
Performance Theory (Routledgeclassics) This cogent and provocative compilation of essays is now a classic text for students of the emergent discipline of performance studies. Beyond the Boundaries : American Alternative Theatre (Theater: Theory/Text/ Performance) An update of this popular history of experimental American theater.
Director And The Stage by Edward Braun
A Director Prepares: Seven Essays on Art and Theatre Bogart (directing, Columbia Univ.) is the artistic director of the SITI Company, an ensemble-based theater company that she founded with Tadshi Suzuki. Her book is aimed at the practitioner but has value for the avid theater goer as well. What we see on stage, as a whole, is a culmination of bits and pieces, steps forward and backward, as a work of "art" is created and then presented. In each essay, Bogart discusses one of seven concepts violence, memory, terror, eroticism, stereotype, embarrassment, and resistance that can work as an obstruction or catalyst to this creative process. The concepts themselves are thought-provoking, and Bogart's text is even more so. For Bogart, these concepts incite energy (positive or negative) that both actors and director absorb and radiate. One suspects that the energy acts on the viewer (and reader) as well. A quote by Jeanette Winterson on the first page clearly illustrates Bogart's passion and love of the theater experience: "Art is the burning bush that both shelters and makes visible our profounder longings." For all theater collections.
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 [ film directing ]
my yahoo: theatre + Anatoly' blog RSS
* Use http://vtheatre.net to link to Virtual Theatre pages!