Thinking Like A Director
1. Theatre director means to know and accept the responsibility of an art form. It requires passion, intelligence, and sensibility as potent as the author.
2. An important goal of my own directing is to discover points of communion between a play and its particular audience in ways that delight and surprise.
3. Having read the play and enjoyed it, my mind alive with ideas and images, I then proceed with further readings, research, and analysis.
4. It's the director's responsibility to unearth all versions and, in consultation with the producer, determine which to use.
5. Editing is important, yet editing must be done with a strong rationale, or it can disfigure the story and confuse the story and confuse an audience.
6. Directors can work closely with the writer before and during rehearsals to shape the translation to that specific play.
7. For most directors, research is an important phase of pre-production. Knowledge releases my imagination. Imagination is what is thereafter you know everything; without knowledge, one's imagination may be too thin. I need to know exactly how the characters in the play live their daily lives.
8. The most direct way of becoming acquainted with a writer is to read as many of his plays as possible.
9. Period research can help identify specific references and illuminate the economic and sociopolitical outlook of the time.
10. Every well-known playwright is the subject of biographical and critical work.
11. Directors are divided on the benefit of the fourth type of research- a play's production history.
12. Most directors find it essential to share some of their research with the cast. Without some background to stimulate the exploration of behavior, rehearsals of a period play usually feel hollow.
13. An action is the motor of a story ad its connecting tissue, but it's not always in the dialogue.
Confusing:
1. In order to display an entire interpretive process, I've separated an ordered the various stages. Various?
2. Every change of action produce a new segment, called a beat.
Not reading a line, but action?
2. An important goal of my own directing is to discover points of communion between a play and its particular audience in ways that delight and surprise.
3. Having read the play and enjoyed it, my mind alive with ideas and images, I then proceed with further readings, research, and analysis.
4. It's the director's responsibility to unearth all versions and, in consultation with the producer, determine which to use.
5. Editing is important, yet editing must be done with a strong rationale, or it can disfigure the story and confuse the story and confuse an audience.
6. Directors can work closely with the writer before and during rehearsals to shape the translation to that specific play.
7. For most directors, research is an important phase of pre-production. Knowledge releases my imagination. Imagination is what is thereafter you know everything; without knowledge, one's imagination may be too thin. I need to know exactly how the characters in the play live their daily lives.
8. The most direct way of becoming acquainted with a writer is to read as many of his plays as possible.
9. Period research can help identify specific references and illuminate the economic and sociopolitical outlook of the time.
10. Every well-known playwright is the subject of biographical and critical work.
11. Directors are divided on the benefit of the fourth type of research- a play's production history.
12. Most directors find it essential to share some of their research with the cast. Without some background to stimulate the exploration of behavior, rehearsals of a period play usually feel hollow.
13. An action is the motor of a story ad its connecting tissue, but it's not always in the dialogue.
Confusing:
1. In order to display an entire interpretive process, I've separated an ordered the various stages. Various?
2. Every change of action produce a new segment, called a beat.
Not reading a line, but action?
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