Intro to theatre chapter 6 notes PDF

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Notes taken from the assigned textbook reading. Professor Jarom Brown. The information in the textbook is used on chapter quizzes....

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Leadership, imagination, and control are three components of directing. The art of directing is considered the most ambiguous and mysterious. The work of directors is “invisible and undetectable”.

Supervising acting, designing, staging, and technical operations is considered the easiest part of a director’s job. Directors inspire collaboration and creativity between all the different artists involved in theatre and they conceptualize plays.

Historically, playwrights usually directed their own plays. The idea of a director did not emerge until the 19th century. The role wasn’t as significant at this time. Directors emerged more as theatre became more stylized through realism and antirealism.

Didaskalos: Greek term used to describe the director. Translates to “teacher”. In medieval times, directors were referred to as “masters”. They instructed their individual styles of performance to their pupils, disregarding any emotional or thematic effects.

In the 18th and 19th centuries, audiences began to demand periodically accurate revivals of plays written by deceased playwrights. Directors became the people who would research and fact check plays in order to put on historically accurate productions. The work of directors wasn’t as renowned or recognized at this time. Actors, such as Charles Kean or Edwin Booth, were credited for the directing work rather than the actual, less “prominent” director.

Second phase of modern day directing: Occurred in the late 19th century. Realism emerged. Realistic human behavior became the primary focus of plays, not just historical accuracy. George II, Duke of Saxe-Meiningen is considered the first modern director. Focused on ensembles of realistic and individualistic actors. 1887: Andre Antoine, director of Theatre Libre in Paris. 1898: Konstantin Staninslavski, Moscow Art Theatre.

Antirealism (third phase) emerged in the 20th century. It was more abstract than realism. Focused on originality, theatricality, and style. Paul Fort: Theatre d’Art, Paris, 1890. Directly contradicted Antoine. Vsevolod Meyerhold: Formerly followed Stanislavski. “Biomechanical constructivism”: acting method involving bold gestures and fast athletic movement. Edward Gordon Craig: A designer who compared the director to a captain of a ship. As modern directors became more significant in the West, it began to impact other parts of the world as well. Huaju (spoken-word drama): Chinese theatre inspired by Western realism. Companies such as Forced Entertainment from England and directors such as Anne Bogart and Thomas Kail are examples of collaborative directors who allow space for other artists in the production to express their ideas.

Pre-preparation period: Directors read and re-read a play and gain an interest in it. They then conceptualize it: dramaturgically, intellectually, aesthetically, and then personally. Producer: Someone with the money and resources to put on a production. Directors and producers have discussions in this period until they come to an agreement.

Preparation period: Director re-reads the script first and takes notes. Copyright laws cover an author’s work until 70 years after their death. Then their work becomes public domain. Directors can change scripts that are public domain. They can also change the play’s dramaturgy. An example of this is Charles Marowitz cutting out two thirds of The Taming of the Shrew, shrinking the cast down to four characters, and changing the characters’ intentions. More examples on page 145.

Conceptualizing the production Core concept: The most important aspect of the play to the director. Core concepts are important, because if a director were to try to give equal attention to all themes, the play would be a mess. High concept: These concepts are often unexpected and can seem to be out of context.

Dramaturg: Often called “literary adviser” or “research assistant”. Dramatic analysts who connect directors with text. They help research the play. They can also be critics of how the rehearsals fit in with the historical context of the play as well as the director’s vision.

Implementation period: This is the period that brings together all the varying artists involved in a production. Designers, actors, stage managers, technicians, etc. The director is the head of them all. They set goals, schedule, monitor progress, etc. It’s common for directors to trust intuition over intellect when casting actors.

Staging: Positioning actors and their movements onstage. Also known as “directorial composition”.

In Renaissance England and during the 19th century, actors would perform a dance at the end of a play.

Business: small scale movements done between entrances, crosses, and exits. These help give characters depth, credibility, and fascination.

The pacing of a play is a responsibility that falls on the director. Critics and general audiences pay close attention to pace. Pace is made up of credibility, suspense, mood, and style.

Once it gets closer to opening night, directors begin focusing on coordinating concept and design, acting and staging, pace and performance. This is the time where directors polish and perfect. Timing and unity are very important. It’s common for last minute cuts to be made.

Directors come from varying backgrounds in theatre. They can be actors, designers, choreographers, playwrights, etc....