Play Directing : Analysis, Communication, and Style

by ;
Edition: 6th
Format: Hardcover
Pub. Date: 2005-01-01
Publisher(s): Allyn & Bacon
List Price: $160.00

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Summary

Play Directing, Sixth Edition describes the various roles a director plays, from selection and analysis of the play to working with actors and designers to bring it to life. The authors emphasize that the role of the director is not as a dictator, but as a leader of artists working in collaboration who look to the director for ideas that will give impetus to their fullest, most creative expressions. The text emphasizes that directing is not a finite and specific ";system"; of production, but rather is a means 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. New to This Edition bull; bull;Features new author Michael McLain, a professor at the University of California, Los Angeles and founding Artistic Associate and Literary Director of the Geffen Playhouse in Los Angeles, who brings a fresh new voice to Play Directing, Sixth Edition while retaining the point of view and fundamentals that have made the text a success in its earlier editions. bull;Adds new chapters on working with actors (Chapter 16) and on the director and the dramaturg (Appendix 2), as well as new material on the director in opera, offering a wealth of new information on the director's role. bull;Revises many exercises for increased focus on points discussed in the text, expanding the opportunities for practical application. bull;Includes an expanded bibliography with an updated survey of a diverse range of works related to directing, providing students with valuable guidelines to further study.

Table of Contents

Dedication and Credits for Photographs ix
Preface xv
Why the Director?
1(5)
What Is a Play? Analysis and Improvisation
6(9)
PART I Taking a Play Apart
15(1)
PLAY-ANALYSIS: THE DIRECTOR'S PRIMARY STUDY
15(42)
The Foundation and Facade of the Playscript: Given Circumstances and Dialogue
17(11)
The Core of the Playscript: Dramatic Action and Characters
28(14)
Idea and Rhythmic Beats
42(11)
The Director's Preparation
53(4)
PART II Communication
57(2)
THE DIRECTOR-ACTOR RELATIONSHIP AND STAGE BLOCKING
59(126)
Directing Is Working with Actors---1
59(8)
Learning to See: The Games of Visual Perception
67(2)
Helping Actors Communicate through Groundplans
69(12)
Composition: Helping Actors Discover and Project Basic Relationships
81(28)
Helping Each Actor Intensify: Gesture and Improvisation with Properties
109(8)
Picturization: Helping a Group Intensify
117(11)
The Dynamic Tool of Movement
128(8)
Coordinating the Blocking Tools in Director-Actor Communication
136(6)
Helping Actors ``Speak'' a Play
142(12)
Directing Is Working with Actors---2
154(31)
Scene Practice
165(16)
Diagnostic Criticism
181(4)
THE DIRECTOR'S DESIGN FUNCTION AND COMMUNICATING THROUGH STAGING
185(72)
Directing Is Designing
185(6)
The Director and the Stage Machine: Symbolization and Synthesis
191(8)
Director's Options: Choice of the Stage
199(19)
Director's Options: Scenery, Properties, and Lighting
218(21)
Director's Options: Costume, Makeup, and Sound
239(18)
HELPING AUDIENCES RECEIVE A PLAY
257(8)
Responsibility to Audiences
257(8)
Designing and Directing Your Own Production
262(3)
PART III Interpretation
265(1)
A MATTER OF STYLE
265(96)
Style Is Individual Expression
267(10)
Style in Playwriting and Playwrights
277(15)
The Director's Analysis of Style in a Playscript
292(14)
Style in Production: Making Decisions
306(13)
Style in Production: Modern Plays
319(14)
Style in Production: New Plays
333(5)
Style in Production: Plays of Past Ages
338(23)
Directing with Designers
355(6)
Appendix 1: Musical Theatre and Opera 361(8)
Appendix 2: The Director and the Dramaturg 369(4)
Appendix 3: Your Future as a Director 373(10)
Bibliography 383(8)
Index 391

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