Play Directing: Analysis, Communication, and StyleAllyn and Bacon, 2000 - 396 páginas ""Play Directing" is about the leader of an artistic enterprise--the play director in today's theatre. The book describes the various roles a director plays, from calling the plays to orchestrating and blending a symphony of actors and elements. The author emphasizes that the role of the director is not as a dictator, but as a leader of multiple craftsmen who look to the director for ideas that will give impetus to their fullest, most creative expressions." This book emphasizes that directing is not a finite and specific system of production, but rather is a venue for providing an intensive look at the structure of plays, of acting and actor-ownership, and of all the other crafts that together make a produced play. Readers are guided through the whole process of working on a play from style to analysis, including its relationship to moving pictures and television. They are encouraged to use this foundation as a basis from which to set their own goals as creative and dedicated leaders." For anyone interested in Play Direction or Theatre Study. |
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Página 28
... Dramatic Action and Characters Dramatic action is the clash of forces in a play — the continuous conflict be- tween characters . Here lies the emotional content that moves audiences , for understanding the action will unlock the play ...
... Dramatic Action and Characters Dramatic action is the clash of forces in a play — the continuous conflict be- tween characters . Here lies the emotional content that moves audiences , for understanding the action will unlock the play ...
Página 29
... Dramatic Action Present Tense Earlier , you learned that dramatic action exists only in the present tense . Thus , the participants in the action - the characters - are always in a state of " I do , " not " I did . " This is what gives ...
... Dramatic Action Present Tense Earlier , you learned that dramatic action exists only in the present tense . Thus , the participants in the action - the characters - are always in a state of " I do , " not " I did . " This is what gives ...
Página 141
... dramatic action and a dramatic action is the forcing by a speaking character of another char- acter . Thus , it is in the forcing or in the reception of the forcing ( adjustment ) that the movement inherently lies . For this reason , we ...
... dramatic action and a dramatic action is the forcing by a speaking character of another char- acter . Thus , it is in the forcing or in the reception of the forcing ( adjustment ) that the movement inherently lies . For this reason , we ...
Contenido
Why the Director? | 1 |
TAKING A PLAY APART | 15 |
Idea and Rhythmic Beats | 43 |
Derechos de autor | |
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Términos y frases comunes
acting areas actors actually approach architectural arena stage Arthur Miller audience aware basic blocking bridge music Chapter character-mood-intensity climactic color comedy composition concept convention costume creative criticism Crucible decorum delineate developed dialogue directing director director-actor communication discussion Doctor Faustus dramatic action effect emphasis EXERCISES experience exploit feel Figure force furniture gesture given circumstances groundplan hand properties hear Hedda Gabler historical ideas illustration imagination important improvisation individual intensive lighting look makeup means modern Molière moods motion pictures move movement musical theatre open-thrust Photo play-analysis play's playscript playwright positions possible problem production proscenium stage Realism rehearsal relationship rhythm scene scenery scenic sense set properties sort sound space specific speech stage lighting structure style style-analysis subtext suggested technique tempos theatre theatrical tion tors understand unit upstage values verbs visual VISUAL PERCEPTION words