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May 05 Lessons of Acting2* 2008 : FOCUS : Character into Role : characteriZation, physicaliZation, visualiZation, vocaliZation [ 3+ levels, including film as "+" ] : dictionary { "4 Zs" -- masterclass? ebook? Total Actor Files? } Form and Format -- ? Instructions must go online! [ page to work on ] Where? In Method Acting directory? [ "Method Acting for Directors" ] Total Actor Files [ "Screen Nostalgia fo Stage" ] ? Questions, again! May 02 Week before finalsUpdating FINALS pages in acting2 and directing courses:
criteria
theme?
"20th century : dramatic popuri"Lab Theatre May 9, Fri. 6 pm. Run-throu day [ raugh cut ]
April 29 After StoppardPage & Stage [postmodern] -- "play-writer" [not playwright] Stoppard -- R/G pages: 3. shows.vtheatre.net.stoppard Theatre UAF main stage 2008 4. script.vtheatre.net/stoppard [script analysis] 6. filmplus.org/plays/R-G.html [text] 7. filmplus.org/plays/stoppard [ru] * webshow pages * [director's notebook] ... and how to read "Stoppard Case"? in http://filmplus.org/2008.html [ theatre page ] : my another attempt to have onoline "show case" [ and Stoppard is a better case to study postmodern than Mamet's Oleanna ]. Beckett was " last modernist" (Kronin). 40 years (half a century) of postmodernism, no wonder that theatre is dead (Beckett : "end of the play and theatre"). I am too old to protest. AA. Cao and Goodbye? April 25 Caligari Project"Project" -- because there is no script. "Dramatic composition in Six Parts" -- director's application... http://direct.vtheatre.net/5/caligari.html -- a new page in "directing genres" part of directing class. But mostly http://stagematrix.com also, http://shows.vtheatre.net/caligari.html images -- http://picasaweb.google.com/anatoly.antohin/2009 and at photobucket.com
Caligari AK (stage version)? web-show [ Stage 3 ] April 14 Tracking the Internet into the 21st Century with Vint Cerf
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April 11 Talking about Theater - MSN Encarta + DirectingFri. Directing class -- next : TEST (textbook) Quote
April 10 Caligari ProjectApril 07 scene work for finalsPygmalion, finale[ same scene and two approaches -- for actors and directors ] Eliza goes out on the balcony to avoid being alone with Higgins. He rises and joins her there. She immediately comes back into the room and makes for the door; but he goes along the balcony quickly and gets his back to the door before she reaches it. HIGGINS. Well, Eliza, youve had a bit of your own back, as you call it. Have you had enough? and are you going to be reasonable? Or do you want any more? LIZA. You want me back only to pick up your slippers and put up with your tempers and fetch and carry for you. HIGGINS. I havnt said I wanted you back at all. LIZA. Oh, indeed. Then what are we talking about? HIGGINS. About you, not about me. If you come back I shall treat you just as I have always treated you. I cant change my nature; and I dont intend to change my manners. My manners are exactly the same as Colonel Pickering's. LIZA. Thats not true. He treats a flower girl as if she was a duchess. HIGGINS. And I treat a duchess as if she was a flower girl. LIZA. I see. [She turns away composedly, and sits on the ottoman, facing the window]. The same to everybody. HIGGINS. Just so. LIZA. Like father. HIGGINS [grinning, a little taken down] Without accepting the comparison at all points, Eliza, it's quite true that your father is not a snob, and that he will be quite at home in any station of life to which his eccentric destiny may call him. [Seriously] The great secret, Eliza, is not having bad manners or good manners or any other particular sort of manners, but having the same manner for all human souls: in short, behaving as if you were in Heaven, where there are no third-class carriages, and one soul is as good as another. LIZA. Amen. You are a born preacher. HIGGINS [irritated] The question is not whether I treat you rudely, but whether you ever heard me treat anyone else better. LIZA [with sudden sincerity] I dont care how you treat me. I dont mind your swearing at me. I dont mind a black eye: Ive had one before this. But [standing up and facing him] I wont be passed over. HIGGINS. Then get out of my way; for I wont stop for you. You talk about me as if I were a motor bus. LIZA. So you are a motor bus: all bounce and go, and no consideration for anyone. But I can do without you: dont think I cant. HIGGINS. I know you can. I told you you could. LIZA [wounded, getting away from him to the other side of the ottoman with her face to the hearth] I know you did, you brute. You wanted to get rid of me. HIGGINS. Liar. LIZA. Thank you. [She sits down with dignity]. HIGGINS. You never asked yourself, I suppose, whether I could do without y o u. LIZA [earnestly] Dont you try to get round me. Youll h a v e to do without me. HIGGINS [arrogant] I can do without anybody. I have my own soul: my own spark of divine fire. But [with sudden humility] I shall miss you, Eliza. [He sits down near her on the ottoman]. I have learnt something from your idiotic notions: I confess that humbly and gratefully. And I have grown accustomed to your voice and appearance. I like them, rather. LIZA. Well, you have both of them on your gramophone and in your book of photographs. When you feel lonely without me, you can turn the machine on. It's got no feelings to hurt. HIGGINS. I cant turn your soul on. Leave me those feelings; and you can take away the voice and the face. They are not you. LIZA. Oh, you a r e a devil. You can twist the heart in a girl as easy as some could twist her arms to hurt her. Mrs. Pearce warned me. Time and again she has wanted to leave you; and you always got round her at the last minute. And you dont care a bit for her. And you dont care a bit for me. HIGGINS. I care for life, for humanity; and you are a part of it that has come my way and been built into my house. What more can you or anyone ask? LIZA. I wont care for anybody that doesnt care for me. HIGGINS. Commercial principles, Eliza. Like [reproducing her Covent Garden pronunciation with professional exactness] s'yollin voylets [selling violets], isnt it? LIZA. Dont sneer at me. It's mean to sneer at me. HIGGINS. I have never sneered in my life. Sneering doesnt become either the human face or the human soul. I am expressing my righteous contempt for Commercialism. I dont and wont trade in affection. You call me a brute because you couldnt buy a claim on me by fetching my slippers and finding my spectacles. You were a fool: I think a woman fetching a man's slippers is a disgusting sight: did I ever fetch y o u r slippers? I think a good deal more of you for throwing them in my face. No use slaving for me and then saying you want to be cared for: who cares for a slave? If you come back, come back for the sake of good fellowship; for youll get nothing else. Youve had a thousand times as much out of me as I have out of you; and if you dare to set up your little dog's tricks of fetching and carrying slippers against my creation of a Duchess Eliza, I'll slam the door in your silly face. LIZA. What did you do it for if you didnt care for me? HIGGINS [heartily] Why, because it was my job. LIZA. You never thought of the trouble it would make for me. HIGGINS. Would the world ever have been made if its maker had been afraid of making trouble? Making life means making trouble. Theres only one way of escaping trouble; and thats killing things. Cowards, you notice, are always shrieking to have troublesome people killed. LIZA. I'm no preacher: I dont notice things like that. I notice that you dont notice me. HIGGINS [jumping up and walking about intolerantly] Eliza: youre an idiot. I waste the treasures of my Miltonic mind by spreading them before you. Once for all, understand that I go my way and do my work without caring twopence what happens to either of us. I am not intimidated, like your father and your stepmother. So you can come back or go to the devil: which you please. LIZA. What am I to come back for? HIGGINS [bouncing up on his knees on the ottoman and leaning over it to her] For the fun of it. Thats why I took you on. LIZA [with averted face] And you may throw me out tomorrow if I dont do everything you want me to? HIGGINS. Yes; and you may walk out tomorrow if I dont do everything y o u want me to. LIZA. And live with my stepmother? HIGGINS. Yes, or sell flowers. LIZA. Oh! if I only c o u l d go back to my flower basket! I should be independent of both you and father and all the world! Why did you take my independence from me? Why did I give it up? I'm a slave now, for all my fine clothes. HIGGINS. Not a bit. I'll adopt you as my daughter and settle money on you if you like. Or would you rather marry Pickering? LIZA [looking fiercely round at him] I wouldnt marry y o u if you asked me; and youre nearer my age than what he is. HIGGINS [gently] Than he is: not "than what he is." LIZA [losing her temper and rising] I'll talk as I like. Youre not my teacher now. HIGGINS [reflectively] I dont suppose Pickering would, though. Hes as confirmed an old bachelor as I am. LIZA. Thats not what I want; and dont you think it. Ive always had chaps enough wanting me that way. Freddy Hill writes to me twice and three times a day, sheets and sheets. HIGGINS [disagreeably surprised] Damn his impudence! [He recoils and finds himself sitting on his heels]. LIZA. He has a right to if he likes, poor lad. And he does love me. HIGGINS [getting off the ottoman] You have no right to encourage him. LIZA. Every girl has a right to be loved. HIGGINS. What! By fools like that? LIZA. Freddy's not a fool. And if hes weak and poor and wants me, may be hed make me happier than my betters that bully me and dont want me. HIGGINS. Can he m a k e anything of you? Thats the point. LIZA. Perhaps I could make something of him. But I never thought of us making anything of one another; and you never think of anything else. I only want to be natural. HIGGINS. In short, you want me to be as infatuated about you as Freddy? Is that it? LIZA. No I dont. Thats not the sort of feeling I want from you. And dont you be too sure of yourself or of me. I could have been a bad girl if I'd liked. Ive seen more of some things than you, for all your learning. Girls like me can drag gentlemen down to make love to them easy enough. And they wish each other dead the next minute. HIGGINS. Of course they do. Then what in thunder are we quarrelling about? LIZA [much troubled] I want a little kindness. I know I'm a common ignorant girl, and you a book-learned gentleman; but I'm not dirt under your feet. What I done [correcting herself] what I did was not for the dresses and the taxis: I did it because we were pleasant together and I come—came—to care for you; not to want you to make love to me, and not forgetting the difference between us, but more friendly like. HIGGINS. Well, of course. Thats just how I feel. And how Pickering feels. Eliza: youre a fool. LIZA. Thats not a proper answer to give me [she sinks on the chair at the writing-table in tears]. HIGGINS. It's all youll get until you stop being a common idiot. If youre going to be a lady, youll have to give up feeling neglected if the men you know dont spend half their time snivelling over you and the other half giving you black eyes. If you cant stand the coldness of my sort of life, and the strain of it, go back to the gutter. Work til you are more a brute than a human being; and then cuddle and squabble and drink til you fall asleep. Oh, it's a fine life, the life of the gutter. It's real: it's warm: it's violent: you can feel it through the thickest skin: you can taste it and smell it without any training or any work. Not like Science and Literature and Classical Music and Philosophy and Art. You find me cold, unfeeling, selfish, dont you? Very well: be off with you to the sort of people you like. Marry some sentimental hog or other with lots of money, and a thick pair of lips to kiss you with and a thick pair of boots to kick you with. If you cant appreciate what youve got, youd better get what you can appreciate. LIZA [desperate] Oh, you are a cruel tyrant. I cant talk to you: you turn everything against me: I'm always in the wrong. But you know very well all the time that youre nothing but a bully. You know I cant go back to the gutter, as you call it, and that I have no real friends in the world but you and the Colonel. You know well I couldnt bear to live with a low common man after you two; and it's wicked and cruel of you to insult me by pretending I could. You think I must go back to Wimpole Street because I have nowhere else to go but father's. But dont you be too sure that you have me under your feet to be trampled on and talked down. I'll marry Freddy, I will, as soon as hes able to support me. HIGGINS [sitting down beside her] Rubbish! you shall marry an ambassador. You shall marry the Governor-General of India or the Lord-Lieutenant of Ireland, or somebody who wants a deputy-queen. I'm not going to have my masterpiece thrown away on Freddy. LIZA. You think I like you to say that. But I havnt forgot what you said a minute ago; and I wont be coaxed round as if I was a baby or a puppy. If I cant have kindness, I'll have independence. HIGGINS. Independence? Thats middle class blasphemy. We are all dependent on one another, every soul of us on earth. LIZA [rising determinedly] I'll let you see whether I'm dependent on you. If you can preach, I can teach. I'll go and be a teacher. HIGGINS. Whatll you teach, in heaven's name? LIZA. What you taught me. I'll teach phonetics. HIGGINS. Ha! Ha! Ha! LIZA. I'll offer myself as an assistant to Professor Nepean. HIGGINS [rising in a fury] What! That impostor! that humbug! that toadying ignoramus! Teach him my methods! my discoveries! You take one step in his direction and I'll wring your neck. [He lays hands on her]. Do you hear? LIZA [defiantly non-resistant] Wring away. What do I care? I knew youd strike me some day. [He lets her go, stamping with rage at having forgotten himself, and recoils so hastily that he stumbles back into his seat on the ottoman]. Aha! Now I know how to deal with you. What a fool I was not to think of it before! You cant take away the knowledge you gave me. You said I had a finer ear than you. And I can be civil and kind to people, which is more than you can. Aha! Thats done you, Henry Higgins, it has. Now I dont care that [snapping her fingers] for your bullying and your big talk. I'll advertize it in the papers that your duchess is only a flower girl that you taught, and that she'll teach anybody to be a duchess just the same in six months for a thousand guineas. Oh, when I think of myself crawling under your feet and being trampled on and called names, when all the time I had only to lift up my finger to be as good as you, I could just kick myself. HIGGINS [wondering at her] You damned impudent slut, you! But it's better than snivelling; better than fetching slippers and finding spectacles, isnt it? [Rising] By George, Eliza, I said I'd make a woman of you; and I have. I like you like this. LIZA. Yes: you turn round and make up to me now that I'm not afraid of you, and can do without you. HIGGINS. Of course I do, you little fool. Five minutes ago you were like a millstone round my neck. Now youre a tower of strength: a consort battleship. You and I and Pickering will be three old bachelors together instead of only two men and a silly girl. Mrs. Higgins returns, dressed for the wedding. Eliza instantly becomes cool and elegant. MRS. HIGGINS. The carriage is waiting, Eliza. Are you ready? LIZA. Quite. Is the Professor coming? MRS. HIGGINS. Certainly not. He cant behave himself in church. He makes remarks out loud all the time on the clergyman's pronunciation. LIZA. Then I shall not see you again, Professor. Good bye. [She goes to the door]. MRS. HIGGINS [coming to Higgins] Good-bye, dear. HIGGINS. Good-bye, mother. [He is about to kiss her, when he recollects something]. Oh, by the way, Eliza, order a ham and a Stilton cheese, will you? And buy me a pair of reindeer gloves, number eights, and a tie to match that new suit of mine, at Eale & Binman's. You can choose the color. [His cheerful, careless, vigorous voice shows that he is incorrigible]. LIZA [disdainfully] Buy them yourself. [She sweeps out]. MRS. HIGGINS. I'm afraid youve spoiled that girl, Henry. But never mind, dear: I'll buy you the tie and gloves. HIGGINS [sunnily] Oh, dont bother. She'll buy em all right enough. Good-bye. They kiss. Mrs. Higgins runs out. Higgins, left alone, rattles his cash in his pocket; chuckles; and disports himself in a highly self-satisfied manner. THE END [from http://act.vtheatre.net/part5.html and http://act.vtheatre.net/rehearse.html ] http://google.com/group/acting2
April 04 Fri. directing classUnit Four : Public -- Stage (Space & Chronotope = subjective time and dramatic space).
and new page -- http://direct.vtheatre.net/4/hamlet2.0.html -- analysis in class of my process with Rosencrantz and Guildenstern are Dead.
My Notes to post on directing forum/list.
Next -- Part 7 (textbook) -- The Whole Picture, 305
My last web subdirectory -- Directing for Genre
new page -- Caligari Project [ to work on ]
* test on textbook. April 02 Thoughts not for Production MettingThe World as Will and Representation. The Apollonian experience bears great similarity to the experience of the world as "representation" in Schopenhauer's sense, and the experience of the Dionysian bears similarities to the identification with the world as "will." Nietzsche's workThe World as Will and Representation. The Apollonian experience bears great similarity to the experience of the world as "representation" in Schopenhauer's sense, and the experience of the Dionysian bears similarities to the identification with the world as "will." Nietzsche's work "Birth of Tragedy" and Rosencrantz and Guildenstern are Dead
Four Figures :
Pragmatism (Americana) and Theatre -- anti-theatrical culture. In fact, very little of culture and a lot of civilization. Spengler's conflict between Rome and Athens : New World and Europe? -- What about the last western country that believes in Christ of different kinds? "In God we Trust" Made in USA and American Idealism... http://shows.vtheatre.net/hamlet/webshow/0.html Director's Thoughts. not Director's Notes? There is no American Hamlet, but plenty of Rosencrantzs and Guildensterns -- and all of them are dead. Businessmen. Americans put their feet on the table to rest, but they won't take out their shoes! They are silly because they are relaxing without getting of their three-piese suits. Even health for them is WORK. "We were called/send" -- R/G : my boys, this is not a calling! It's just a phone call!
Electric Chair and Waiting for... Godot? Where is this arm-chair? "LazzyBoy" -- throne of losers. Relax, Ros, rest, Guil -- when Rosencrantz takes off his shoes, and -- socks. Oh, you can walk on water, but barefoot only. http://groups.yahoo.com/group/vtheatre
March 31 On Stage...March 19 Production Meeting, RG Theatre UAFThree Chronotopes : I. Shakespeare (Age of Modernity) II. Stoppard (Postmodern) III. Us -- After PoMo ... Directors' Notes : ... Act One [1. Road & 2. Castle] + Act Two [3. Sea] -- cuts. ... I have to remember that R/G is about me -- lost ("extra"), non-essentual ... and THEATRE, which passed by touching my face with its invisible wing. What (historical) directions ? What could good directions be, besides stage directions? Did Hamlet have his way out? Prince Hamlet, formerly known as "Prince" -- what was he doing in Eisinore? Did he want them to take him back to the university, the two who knew him as Hamlet, not "Prince Hamlet"... And how they address him -- ? Betrayal -- that was obvious. ... "America 2008" (politics) R/G and Election Year (filmplus.org/politics/2008)? Personal Free Choice. Friends? Each is not a friend to himself. And -- to save yourself you must save next to you.
* Set design references both to Hamlet & Godot scenes & NARRATIVES : Thought STORIES in R+G... Shakespeare & Hamlet + Beckett and Godot ... new : See the photos @ Theatre UAF official website! 2008 HAMLET (flickr slideshow) R+G are Dead
Rosencrantz and Guildenstern are Dead, USA[ official title? ] to post to my google calendar. March 17 After the Break : Actor's Chronotopetextbook (Kaplan) Part IV. The World of the Play [ using R/G are Dead ] Chapter 9. Comparison -- creating subjective time and space ( the only in forms of PERSONAL chronope the dramatic experience of spectator could exist ). http://filmplus.org/thr/space.html + http://filmplus.org/thr/time.html Character's time/space => Role http://filmplus.org/biomx/chronotope.html ID -- http://act.vtheatre.net/ID.html : Identification, why "I = Character" (Method) is so important... Samples -- Modern Drama vs. the classics ("masterpieces" and current drama, film scenes). Examples? "How to use your partner" -- "act in pauses" + ... acting is reacting[ Book of Spectator : Spectator as Actor ] http://biomechanics.vtheatre.net/3.html and subdirectory for part 3 (lessons 9, 10, 11, 12). March 06 Spring Break Backstage WorkThemes, Motifs, Symbols, Sounds, Light, and etc. for "Rosencantz and Guildenstern are Dead" Thought STORIES in R+G... Shakespeare & Hamlet + [ http://www.flickr.com/search/show/?q=beckett&w=faves ] Beckett and Godot Narratives PAGE : http://shows.vtheatre.net/hamlet/webshow/narratives.html (New Character -- Spectator : Brechtian Touch). Rosencrantz' STORY -- http://shows.vtheatre.net/hamlet/webshow/ros.html Guildensretn's Tale -- Pages to work on. Post to http://groups.yahoo.com/group/vtheatre -- for Cast & Crew ("Break Reading") Plots (costumes, prop, sound, light) -- director's concept(s)
New (subtext) IMAGES -- picasa album rg08 + flickr + photobucket.com
del.icio.us Tags: Stoppard, shows, directing film theatre bergman philosophy poetry cinema notes, 2008, Theatre UAF, antoly antohin * Production Meetings Minutes ( SM ) Director's Notes -- http://shows.vtheatre.net/hamlet/webshow/notes.html Webbing : connecting Godot, Hamlet and postmodern pages together. http://filmplus.org/calendar.html (rehearsals breakdown day-by-day?) Connections with http://afronord.tripod.com/politics/2008.html -- Free Will, Elections... My notes in aDiray. February 27 Theatre Biomechanics with Anatoly, StudentsTheatre Biomechanics with Anatoly, Students "Journal" pages at acting one and http://method.vtheatre.net/0.html (Acting3) Homework (scene work) outside of class == how to moniyor? http://google.com/group/acting2 -- student (personal) pages -- summaries of progress? Calendar to use? Not knowing how to do their homework is the biggest problem in actors' training. Assignments daily? youtube.com submissions? (for monologues, at least). "Web-Acting" -- something to think about. February 25 Midterm Scene work in class Miss Julie, homework -- climatic scene. In class -- new: finale for analysis. from Acting 2 webpages : Q & A : The conclusion is catastrophic. The catastrophic conclusion will seem inevitable. It occurs, ultimately, because of the human limitations of the protagonist. The protagonist suffers terribly. The protagonist's suffering often seems disproportionate to his or her culpability. Yet the suffering is usually redemptive, bringing out the noblest of human
capacities for learning. ... .--Goodbye! [Leaves Kristine] JEAN. Damned bitch!--And all this for a siskin!-- MISS JULIE [dully]. Oh, never mind the siskin! --Do you see any way out of this? Any end to it all? JEAN [ponders]. No! MISS JULIE. What would you do in my place? JEAN. In yours? Wait, now.--A woman of noble birth who'd-sunk? I don't know--or yes, maybe I do. MISS JULIE [takes the razor and makes a gesture]. Like this? JEAN. Yes.--But I wouldn't do it--mind, for there's a difference between us! MISS JULIE. Because you're a man and I'm a woman? What difference does that make? JEAN. Precisely that--the difference between a man and a woman. MISS JULIE. I want to. But I can't.--My father couldn't either, that time he should have done it. JEAN. No, he was right not to. He had to be revenged first. MISS JULIE. And now my mother's taking her revenge again, through me. JEAN. Have you never loved your father, Miss Julie? MISS JULIE. Yes, very much. But I've hated him, too. I must have done so without realizing it. It was he who brought me up to feel contempt for my own sex, as a half-woman and half-man. Who's to blame for all this? My father, my mother, myself? Myself? But I have no self of my own? I haven't a thought I didn't get from my father, not an emotion I didn't get from my mother, and this last idea--that everyone's equal--I got from him, my fiancЁ¦--which is why I called him a swine! How can it be my own fault, then? Shift all the blame on to Jesus, as Kristin did?--No, I'm too proud for that, and too intelligent--thanks to my father's teachings--and all that about a rich man not getting into heaven, that's a lie-Kristin's got money in the savings-bank, she won't get in at any rate! Whose fault is it?--What's it matter to us whose fault it is; I'm still the one who'll have to bear the blame, suffer the consequences. JEAN. Yes, but-- -- -- There are two shrill rings on the bell; MISS JULIE jumps to her feet; JEAN changes his coat. JEAN. His Lordship's home!--What if Kristin-- -- -- Goes to the speaking tube; knocks and listens. MISS JULIE. Has he been to his desk yet? JEAN. This is Jean, sir! [Listens. Note that the audience cannot hear what the COUNT says] Yes, sir! [Listens] Yes, sir! At once! [Listens] At once, sir! [Listens]--Yes, sir, in half an hour! MISS JULIE [extremely anxious]. What did he say? For God's sake, what did he say? JEAN. He wants his boots and his coffee in half an hour. MISS JULIE. In half an hour, then!--Oh, I'm so tired; I can't bring myself to do anything, I can't repent, can't run away, can't stay, can't live--can't die! Help me, now! Order me, and I'll obey like a dog! Do me this last service, save my honour, save his name! You know what I ought to do, but can't, just will me to do it. Order me! JEAN. I don't know why--but now I can't either--I don't understand--it's just as if this coat made me--I can't order you--and now, since his Lordship spoke to me--then--I can't explain it properly--but--oh, it's this damned lackey sitting on my back!-I believe if his lordship came down now and ordered me to cut my throat, I'd do it on the spot. MISS JULIE. Then let's pretend you're him, and I'm you!--You acted so well just now, when you went down on your knees-then you were the aristocrat--or--have you never been to the theatre and seen a hypnotist? [Jean gestures assent] He says to his subject, 'Take this broom!', and he takes it; he says, 'Sweep!', and it sweeps*-- -- -- JEAN. But then the subject has to be asleep. MISS JULIE [ecstatically]. I'm already asleep--it's as if the whole room were full of smoke; you look like an iron stove, dressed all in black with a top hat--your eyes glow like coals in a dying fire--and your face is a white spot, like ashes--[The sunlight has now fallen upon the floor, and is shining on JEAN]--it's so nice and warm-[She rubs her hands as though warming them before a fire]--and so light--and so peaceful! JEAN [takes the razor and places it in her hand]. Here's the broom! Go now, while it's still fight--out to the barn--and. . . [Whispers in her ear MISS JULIE [awake]. Thank you. Now I'm going to rest. But just tell me one thing--that the first may also receive the gift of grace. Tell me, even if you don't believe it. JEAN. The first? No, I can't!--But wait--Miss Julie--now I know!--You're no longer among the first--you're among--the last. MISS JULIE. That's true--I'm among the very last; I am the last. Oh!--But now I can't go--Tell me to go, just one more time! JEAN. No, I can't now either. I can't! MISS JULIE. And the first shall be last. JEAN. Don't think, don't think! You're taking all my strength away too, and making me a coward--What's that? I thought the bell moved!--No! Shall we stop it with paper?-- --To be so afraid of a bell!--Yes, but it's not just a bell--there's somebody behind it-a hand sets it in motion--and something else sets that hand in motion--but if you stop your ears--just stop your ears! Yes, but then he'll go on ringing even louder--and keep on ringing until someone answers--and then it's too late! Then the police will come--and then. . . Two loud rings on the bell. JEAN [cringes, then straightens himself up]. It's horrible! But there is no other way!--Go! [MISS JULIE walks resolutely out through the door] Curtain. February 18 Acting 2 : Biomechanics THR221 -- part 2. Episodic [ Brecht/Meyerhold ] http://biomechanics.vtheatre.net/intro.html textbook -- David Kaplan Gest vs. Inner Gesture http://biomechanics.vtheatre.net/episodic.html Brecht in directing class : http://direct.vtheatre.net/brecht.html new page(s) @ http://google.com/group/acting2 scenes in class (midterm preparation) : Mikado, Shrew, The Importance of Being Earnest -- http://biomechanics.vtheatre.net/midterm Actor & Director (self-directing) : http://biomechanics.vtheatre.net/2.html Homework (google calendar) -- Kate - Petruccio first scene [ 5 Ws, floor plans ] anatoly.org February 15 2008 web"Theatre w/Anatoly"... without Anatoly. Ten years is more than enough. As "notes for myself" the webpages served me, but not as "writing space"... Closing old projects [ list ] Example : http://shows.vtheatre.net/godot/0.html Godot in class (directing) : I.1 assignment - http://google.com/group/directing How to make it usable when I am teaching Fundamentals of Directing? Pages of instructions for students? Comparing Beckett and Stoppard, Vladimir and Guildenstern, and etc. ? "Theatre Research" -- http://filmplus.org/thr/0.html [theatre theory]? ... I do not see it. I didn't think about "life after me" and web is very PRESENT. Well, anatolant? February 11 Page updates : directing shortsdel.icio.us Tags: directing film theatre bergman philosophy poetry cinema notes, students, shorts, one act
Directing ONE ACTS = Matrix -- Stage Directing: "Winter Shorts"2004: student directed one-acts : shows.vtheatre.net/shortsstudent-written one-acts Fest Theatre UAF .... Small-Cast One-Act Guide Online [link]
... 2007 : Danny and Deep Blue Sea + Power Lunch -- see Theatre UAF official website!
Ben : Danny and the Deep Blue Sea received its professional premiere at Actors Theatre of Louisville in February 1984.
Craig : Power Lunch is a play by writer/director Alan Ball ... Dramaturg: theatre traditions (both scripts) [ notes are at google.com/group/directing + ]
A few notes on student-directors.[ Student-Directed One-Acts Proposal (form) : Students who have successfully completed the 331 Fundamentals of Directing class are eligible to apply for directing a one-act production in the Lab Theatre. ] * Each student is responsible for selecting base resource materials or playscript for performance and then overseeing the entire production and staging process through to, and including, presentation of the finished product.
Directing: directory * backstagejobs.com Stage Directors Wanted * PSTheatre UAF seasonNBComments on Fall 2004 shows? Spring 2005 -- posts on eGroups.Titles (recommended) for consideration (list) Skill requirements: [ "General Evaluation Guidelines" -- right table ] Stage Directors are individuals working in the art and craft of communicating in a space (the stage) and time (the theatrical experience).This category houses sites of currently active Stage Directors, that is directors engaged in the art, looking for work, or working in projects. These sites represent a Stage Director's work, careers, resumes, philosophies and/or online professional portfolios. http://www.combose.com/Arts/Performing_Arts/Theatre/Directing/Stage_Directors Next: students @2004 film-north * Stage I - Fine Arts--Drama IL Learning Standarts * Casting: Before a production is filmed or staged, directors undertake auditions to select actors for parts. They also select set designers to create and design the perfect setting (eg. minimalist or period setting) and technical staff such as the camera, lighting and sound technicians. The director must be confident that these people can make his or her production come to life and complement his directing style. Another early job is to decide where the production is to be filmed, staged or recorded. * Directors, as the name suggests, are responsible for providing artistic and technical direction to film, stage, television and radio productions. From start to finish, a director has control over all areas of production, including casting, lighting, sets and costumes. Even though there is typically a lighting or costume director on board, basically the buck stops with the director. * Most stage directors do not realise how well equipped they are to direct film. Blocking, timing, storytelling and working with actors are all essential directing skills that many film directors lack. Why not start a theatre group with a few close friends (like Steppenwolf in Chicago, or Second City in Toronto) and build a reputation for exciting stage shows. Invite reviewers and agents, and wait to be discovered by a producer,or turn a stage show into a movie yourself. Examples: Sam Mendes, Stephen Daldry, Andrew Shea.
Faculty supervision (my note to a student-director, sample):ACTORS read! [ Assistant of Director, AD + Thesis ]
Fool for Love (Shepard) + Beyond Therapy (Durang) [ in class ] 3.19.07 Scenes from "Picnic" [ director's analysis -- 200 words? ] Catastrophe (Beckett Pages) Finals and Shorts (future, fall -- No Exit, Sartre - Ben) ... Miss Julie and Spring 2008? ... Theatre UAF Student Plays FEST : staged readings* [ see calendar -- one day -- webcast? ]
... Staged Readings : writing classes (Fall 2007 THR215 Dramatic Literature class, unit 5). [ * ] How to do "staged readings" page? acting2 : from Method to Biomechanics2.10.08 -- http://biomechanics.vtheatre.net/2008.html
THR221 Intermediate Acting : Theatre UAF
Textbook : 5 Approaches to Acting (David Kaplan)
Part 2. Episode -- Meyerhold and Brecht
Scenes : Mikado in class -- http://filmplus.org/thr/mikado.html
list/forum : http://google.com/group/acting2
Physical Approach to Character Analysis
Comedy and Commedia : http://filmplus.org/biomx/0.html BM database
Mini-Chekhov : The Bear (Boor) -- http://biomechanics.vtheatre.net/scenes.html + http://biomechanics.vtheatre.net/ss.html (Scene Study for midterm)
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