Play Directing: Analysis, Communication, and StyleAllyn and Bacon, 2000 - Всего страниц: 396 ""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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Стр. 203
... stages where the architectural form of the stage can actually be changed but they also have two or three the- atres of different shapes and sizes where different sets of aesthetic values pre- vail . However , today's problem does not ...
... stages where the architectural form of the stage can actually be changed but they also have two or three the- atres of different shapes and sizes where different sets of aesthetic values pre- vail . However , today's problem does not ...
Стр. 211
... stage through the audience , as in arena staging . The vomitory solved the problem of quick entrances because a large number of actors could be " vomited " onto the stage area very quickly and then disappear at the end of a scene within ...
... stage through the audience , as in arena staging . The vomitory solved the problem of quick entrances because a large number of actors could be " vomited " onto the stage area very quickly and then disappear at the end of a scene within ...
Стр. 212
... stage . As a modified proscenium stage , then , audiences will sit in the frontal position . The forestage - proscenium is an adapted form , for it is neither fish nor fowl but tries to be both . It has undoubtedly come back into use in ...
... stage . As a modified proscenium stage , then , audiences will sit in the frontal position . The forestage - proscenium is an adapted form , for it is neither fish nor fowl but tries to be both . It has undoubtedly come back into use in ...
Содержание
Why the Director? | 1 |
TAKING A PLAY APART | 15 |
Idea and Rhythmic Beats | 43 |
Авторские права | |
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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