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Shows: Taming of the Shrew -- Bianca film * 2007 - 2009
2009: Lul Readers Theatre

SEX WARS : from Shrew to Ms. Julie

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Addis British council + Scandinavian Embassies [sponsors]

Combination of actors [Lul Rep] and Readers [Lul Club members]

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... Quotes & Thoughts: for now -- see Dangerous Liaisons pages!


Shows * 2004 season * Adapted from the Shakespearian Classic * Your production eGroup : groups.yahoo.com/group/12night -- subscribe!
"Bianca Film Story" will be casted/assigned in THR221 Intermediate Acting class * Spring 2004 *

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Summary

The Plot: The wealthy Baptista has two marriageable daughters: Kate, and Bianca. Baptista decrees that Kate, the elder, must be married before Biance, the younger. Bianca has many suitors while Katherine, known as the "shrew", has none on the horizon. Then Petruchio comes to find a wealthy wife. He arranges a dowery with Baptista and woos Kate, despite her objections. Meanwhile, the wooers of Bianca disguise themselves as her tutors to win her love which Lucentio, through an even greater deception, wins. Late for the wedding, Petruchio carries her off before the wedding banquet. She is "tamed" while under his care. Upon their return to her father's house, the disguises are discovered and a triple wedding ensues.
Mikado
Mikado
Do YOUR character study and post it on our class egroup (12night) *
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2005: Total Acting & Total Directing *

Oleanna
Theatre UAF: Mamet'07
"Silent Shakespeare": Digitally restored to video by the British Film Institute's National Film and Television Archive, these shortened, silent adaptations of Shakespeare's works are characterized by charm, exuberance, visual wit and bravura acting. Includes "King John" (Britain, 1899, with Sir Hubert BeerBohm Tree), "The Tempest" (Britain, 1908), "A Midsummer Night's Dream" (USA 1909), "King Lear" (Italy, 1910, with Francesca Bertini), "Twelfth Night" (USA, 1910), "The Merchant of Venice" (Italy, 1910, with Francesca Bertini) and "Richard III" (Britain, 1911, with Sir Frank Benson).

Notes

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Shakespeare's Women: "Bianca' Story" (on screen only).

Punch

Shakespeare @ Amazon

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Bianca

Not on stage: her story without words, pantomime?
Why the Bianca' story is on the screen?

Stages for working 5 scenes into script: scenes assigned:

Four groups to film in the Spring (Directing Class).

Writers' Group: 1st draft of scripts

Concept and Style

Directors meet with Acting II for casting

Production meetings: schedules and deadlines.

Storyboarding (see Film "Directoring" pages.

1-1

3-1 + 4-3, 4-4, 5-1

Video Notes *

Shrew2004
She doesn't love anybody (loves herself?) -- marriage of convinience > many suitors. Plays with them (2) -- how to choose, when you don't love? Finale -- she lost (compare to Kate). Shrew

Principal Characters:
** Christopher Sly-an indolent, fat tinker
* Baptisa Minola-a rich Italian gentlemen
Bianca-his refined, youngest daughter
* Katherine-his sharp-tongued, eldest daughter
Gremio-Bianca's rich and elderly suitor
Hortensio-Bianca's other suitor
* Petruchio-Hortensio's friend
Grumio, Pete' servant
Lucentio-a rich and colorful gentlemen
Tranio-Lucentio's servant

[ * some characters will be on the screen and on stage ** Sly = Shakespeare, writing and directing the play "The Shrewing" -- the Induction scenes will be re-written in Commedia "scenario" style ]

Shrew04 One scene (Act 4) to be filmed in the Fall? Also, live-camera feed *

Who is doing live camera in the Fall? They all actors!

Shooting the audience reaction as well (camera #2).

'Montage' for preshow and intermission?

Audience participation -- no fourth wall.

Serious issues: decomposition of marriage and etc. Where? How? Must be there in order to have comedy. Today's perspective.

Concept Page?

Shrew

Comedy -- contrast. Style of shooting -- b/w? Or "soup-opera" (Miss America) style for Bianca?

Silent movies aesthetics? With titles? And subtitles.

Music -- eclectic, popuri (rock, spirituals, rapping, blues, pop). Each character has its own style?

Improvisation 'spots' -- mark it!

PS

The shooting scripts will be posted by the film directing class @ groups.yahoo.com/group/yahoo-cls-directing Shrew

For ACTING for the camera notes see BioMechanics directory, and the Intermediate Acting class @ biomechanics.vtheatre.net.

The production directory is egroups.com/group/vtheatre ...

I should cast the chorus now (Spring) to start working on "Song & Dance" numbers.

"Induction" is the bridge between screen and stage -- my comical take on "Shakespeare in Love" (actress, not actor) -- how drunk is Shake?

postcard

public rehearsals & demonstrations


"Welcome to this great invention of Doctor Love!

We all know that a name can tell a lot about a person. Names are not randomly chosen: they all have a meaning. Doctor Love knew this so he made another great invention just for the lonely you!

Sometimes you'd like to know if a relationship with someone could work out. Therefore Doctor Love himself designed this great machine for you. With The Love Calculator you can calculate the probability on a successful relationship between two people. The Love Calculator is an affective way to get an impression of what the chances are on a relationship between certain people."

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Get Site Info

Kiss me, Kate! * Kiss Types * Kiss Meanings * Places To Kiss *

What's your favorite type of kiss? * A long, juicy, enticing embrace * A brief touch of lips -- it builds tension before the real thing * A sweet, gentle smooch


TOPICS: drama + comedy + postmodern + self + commedia + biomechanics + shakespeare + comical + sex + shake-comedy + 12th night +
After an especially long kiss, you usually: * Lean back and look lovingly into his eyes * Gasp for air and dive right in for another * Take a break to nibble his ear

Yoga-Method

6. When you kiss a man, your hands are usually: * Running playfully through his hair * Wrapped around his neck, holding him close * Caressing his face, stroking his back or grabbing some other body part!

* THR470 Film Directing Spring 2004 *
7. During a kiss, you would like it if your man: * Ran his tongue inside your lips along your teeth * Stopped to gently kiss your nose, forehead, shoulder * Stopped to look deep into your eyes

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10. When it comes to kissing, you: * Often make the first move -- you like to be in control * Are comfortable making the first move, as long as he takes the lead sometimes too * Rarely make the first move -- you like your man to be in control

NB

Act III. Scene I.
Padua. A Room in BAPTISTA’S House.
 
  
Enter LUCENTIO, HORTENSIO, and BIANCA.
 
  Luc.  Fiddler, forbear; you grow too forward, sir: 
Have you so soon forgot the entertainment   4
Her sister Katharine welcom’d you withal? 
  Hor.  But, wrangling pedant, this is 
The patroness of heavenly harmony: 
Then give me leave to have prerogative;   8
And when in music we have spent an hour, 
Your lecture shall have leisure for as much. 
  Luc.  Preposterous ass, that never read so far 
To know the cause why music was ordain’d!  12
Was it not to refresh the mind of man 
After his studies or his usual pain? 
Then give me leave to read philosophy, 
And while I pause, serve in your harmony.  16
  Hor.  Sirrah, I will not bear these braves of thine. 
  Bian.  Why, gentlemen, you do me double wrong, 
To strive for that which resteth in my choice. 
I am no breeching scholar in the schools;  20
I’ll not be tied to hours nor ’pointed times, 
But learn my lessons as I please myself. 
And, to cut off all strife, here sit we down: 
Take you your instrument, play you the whiles;  24
His lecture will be done ere you have tun’d. 
  Hor.  You’ll leave his lecture when I am in tune?  [Retires. 
  Luc.  That will be never: tune your instrument. 
  Bian.  Where left we last?  28
  Luc.  Here, madam:— 
Hac ibat Simois; hic est Sigeia tellus; 
Hic steterat Priami regia celsa senis. 
  Bian.  Construe them.  32
  Luc.  Hac ibat, as I told you before, Simois, I am Lucentio, hic est, son unto Vincentio of Pisa, Sigeia tellus, disguised thus to get your love; Hic steterat, and that Lucentio that comes a wooing, Priami, is my man Tranio, regia, bearing my port, celsa senis, that we might beguile the old pantaloon. 
  Hor.  [Returning.] Madam, my instrument’s in tune. 
  Bian.  Let’s hear.—  [HORTENSIO plays. 
O fie! the treble jars.  36
  Luc.  Spit in the hole, man, and tune again. 
  Bian.  Now let me see if I can construe it: Hac ibat Simois, I know you not; hic est Sigeia tellus, I trust you not; Hic steterat Priami, take heed he hear us not, regia, presume not; celsa senis, despair not. 
  Hor.  Madam, ’tis now in tune. 
  Luc.        All but the base.  40
  Hor.  The base is right; ’tis the base knave that jars. 
How fiery and forward our pedant is! 
[Aside.] Now, for my life, the knave doth court my love: 
Pedascule, I’ll watch you better yet.  44
  Bian.  In time I may believe, yet I mistrust. 
  Luc.  Mistrust it not; for, sure, Æacides 
Was Ajax, call’d so from his grandfather. 
  Bian.  I must believe my master; else, I promise you,  48
I should be arguing still upon that doubt: 
But let it rest. Now, Licio, to you. 
Good masters, take it not unkindly, pray, 
That I have been thus pleasant with you both.  52
  Hor.  [To LUCENTIO.] You may go walk, and give me leave a while: 
My lessons make no music in three parts. 
  Luc.  Are you so formal, sir? [Aside.] Well, I must wait, 
And watch withal; for, but I be deceiv’d,  56
Our fine musician groweth amorous. 
  Hor.  Madam, before you touch the instrument, 
To learn the order of my fingering, 
I must begin with rudiments of art;  60
To teach you gamut in a briefer sort, 
More pleasant, pithy, and effectual, 
Than hath been taught by any of my trade: 
And there it is in writing, fairly drawn.  64
  Bian.  Why, I am past my gamut long ago. 
  Hor.  Yet read the gamut of Hortensio. 
  Bian.  ‘Gamut’ I am, the ground of all accord, 
      ‘A re,’ to plead Hortensio’s passion;  68
    ‘B mi,’ Bianca, take him for thy lord, 
      ‘C fa ut,’ that loves with all affection: 
    ‘D sol re,’ one clef, two notes have I: 
      ‘E la mi,’ show pity, or I die.  72
Call you this gamut? tut, I like it not: 
Old fashions please me best; I am not so nice, 
To change true rules for odd inventions. 
  
Enter a Servant.
  76
  Serv.  Mistress, your father prays you leave your books, 
And help to dress your sister’s chamber up: 
You know to-morrow is the wedding-day. 
  Bian.  Farewell, sweet masters both: I must be gone.  [Exeunt BIANCA and Servant.  80
  Luc.  Faith, mistress, then I have no cause to stay.  [Exit. 
  Hor.  But I have cause to pry into this pedant: 
Methinks he looks as though he were in love. 
Yet if thy thoughts, Bianca, be so humble  84
To cast thy wandering eyes on every stale, 
Seize thee that list: if once I find thee ranging, 
Hortensio will be quit with thee by changing.  [Exit. 
Next: cast
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2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin
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