The director's craft: a handbook for the theatre
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London [u.a.]
Routledge
2009
|
| Schriftenreihe: | Theatre and performance studies
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XII, 243 S. Ill. |
| ISBN: | 9780415404389 041540438X 9780415404396 0415404398 |
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Datensatz im Suchindex
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|---|---|
| adam_text | CONTENTS
Acknowledgements x
Foreword by Nicholas Hytner
xi
Introduction
ι
PART ONE
PREPARING FOR REHEARSALS
7
Chapter
1 :
Organising your early responses to the text
11
Using lists of facts and questions
11
Organising information about what exists before
the action of the play begins
12
Research
15
Answering difficult questions about the text
19
Place
20
Character biographies
24
A checklist of all the work done in this chapter
30
Chapter
2:
Organising information about each scene
31
immediate circumstances
31
What happens between scenes or acts
36
Time
40
A checklist of all the work done in this chapter
43
Chapter
3:
Investigating the big ideas of the play
44
The writer and the play
44
The ideas that underpin the text
47
The genre or style of the play
50
A checklist of all the work done in this chapter
51
Chapter
4:
Analysing the action of the play
53
Preparing the layout of your directing script
53
Giving a name to each act or scene
54
Events
55
Intentions
62
Getting the text ready for the actors
65
A checklist of all the work done in this chapter
67
Chapter
5:
Deepening work on character
68
Characters thoughts about themselves
68
Relationships
70
Preparing improvisations
72
A checklist of all the work done in this chapter
74
Chapter
6:
Building relationships with your production team
75
Design
77
Lighting &4
Sound
^5
Music
87
Video
90
Voice
92
Movement
95
Chapter
7:
Selecting actors and testing starting points for rehearsals
99
Casting
99
Worhhops
103
Chapter
8:
Preparing the rehearsal environment
106
Working with stage management 1()6
Selection of rehearsal rooms 1Q8
Establishing communication structures no
Getting the rehearsal room ready n 2
PART TWO
REHEARSALS
113
Chapter
9:
The initial few days of rehearsal
7
Organising your thoughts about actors
W
Twelve golden rules for working with actors n9
Establishing the language of your process
125
How to give feedback to actors about their work
127
How to
ât
in the rehearsal room
131
vi
I the director s craft
Introducing the text to the actors
132
The first day of rehearsals
133
The model showing
136
Introducing sound, costumes, props, furniture, lights and
scenic elements to the rehearsal process
138
Chapter
10:
Building the world of the play
141
How to divide up the rehearsal day
142
Introducing facts and questions
143
Research
145
Place
147
The writer and the genre
149
Practical work on ideas
150
Practical work on emotions
154
Character biographies
156
First practical work on character and character tempo
159
Relationships
161
How to set up improvisations with the actors
163
How to use visualisation exercises
165
How to do all this with a short rehearsal period
166
Chapter
11 :
Working on the scenes of the play
169
Analysing the action of the play with the actors
169
The mark-up
171
Improvising the trigger event and immediate circumstances
173
How to structure the rehearsal day
173
Rehearsing a scene for the first time
174
Blocking , or making the action clear for the audience
178
The second and third rehearsals of a scene
181
Run-throughs
185
How to manage the final days in a rehearsal room
188
Working on set, costume, sound, lighting design and music
during rehearsals
189
How to do all this with a short rehearsal period
191
CONTENTS I
VII
PART THREE
GETTING INTO THE THEATRE
AND THE PUBLIC PERFORMANCES
195
Chapter
12:
Technical and dress rehearsals
199
The schedule for getting into the theatre ana technical rehearsals
199
How to manage the transition from the rehearsal room to
the theatre for the actors
200
How to work withyour creative team during technical rehearsals
гоъ
Lighting plotting sessions
205
Sound and music sessions before the technical rehearsal begins
207
Technical rehearsals
208
The dress rehearsal
210
Chapter
13:
The public performances
213
The first few public performances
213
Notes after shows
215
Rehearsals during your first few public performances
217
Press night
218
The run of performances from after the press night
until the last night
220
Analysingyour work after the run has ended
221
PART FOUR
CONTEXT AND SOURCES
223
Chapter
14:
How
1
learnt the skills the book describes
225
Stanislavsky
225
Lev
Dodin
teaches directing in Russia
227
Private directing classes in the UK
230
Research into the biology of emotions
231
Glossary
233
Index
237
VIII
I THE DIRECTOR S CRAFT
The Director s Craft is a unique and completely
indispensable step-by-step guide to directing
for the stage.
Written by one of the most adventurous and
respected directors working today, this book
will be an indispensable item in every student
and practitioner s kitbag. It provides detailed
assistance with each aspect of the varied
challenges facing all theatre directors, and
does so with startling clarity. It will inspire
everyone, from the beginner just starting out
to the experienced practitioner looking to
reinvigorate their practice.
Katie Mitchell shares and explains the key
practical tools she uses to approach her work
with actors, production teams and the text
itself. She addresses topics such as:
•
The ideas that underpin a play s text
•
Preparing improvisations
•
Twelve golden rules for working with actors
•
Managing the transition from rehearsal
room to theatre
•
Analysing your work after a run has ended.
Each chapter concludes with a summary of its
critical points, making this an ideal reference
work for both directors and actors at any
stage of their development.
Katie Mitchell has directed plays for the Royal
Shakespeare Company, The Royal National
Theatre, The Royal Court, The Young Vic and
The Donmar Warehouse. Outside the UK she
has directed at The Royal Dramatic Theatre in
Sweden, the
Schauspielhaus Köln in
Cologne
and the Piccolo Theatre in Milan. Her opera
work includes productions for Welsh National
Opera, Glyndebourne Festival Opera and
English National Opera. She has received two
Time Out Awards and one Evening Standard
Award for Best Director.
THEATRE AND PERFORMANCE STUDIES
THIS BOOK SHOULD
BECOME AN
ESSENTIAL GUIDE
FOR DIRECTORS
IN THE ENGLISH
SPEAKING THEATRE.
NICHOLAS
HYTNER, FROM
THE FOREWORD
|
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