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![]() Featured Pages: Production and Glossary (a must for every directory?) Each character must be established: 5Ws (acting). Plus, the directorial take. Working the costume designer. From "understanding" to visualization and physicalization. Actors: Mater-Gesture, vocalization (accent, etc.), walk.
Importance of Being Earnest play online
* Wilde Page in Script Analysis * Wilde & Biomechanics, plus Scenes and Mono pages! ![]() my eGroups Wilde Page in Script Analysis
![]() ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-5253 ![]() Acting in Person and in StyleSubscribe to my Open Class @ 3sisters Actors on ActingSubscribe to my Open Class @ 12night The Director's EyeSubscribe to my Open Class @ Directing! How to Read a FilmSubscribe to Open Class @ 200x Aesthetics ![]() Theatre UAF [ back to act.vtheatre.net: fundamentals of acting ] ![]() WWWilde Archives ![]() ![]() ^ The Shrew Film Directing "showcase" ^ ![]() ![]() Pygmalion 2005 * Shaw * online * * March 2006: Go.dot -- 100 years since Sam Beckett's birth * Internet2 Day presentation * vTheatre: postmodern project ...
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Plyscript analysis is from (my) director's POV. Even the etextbook on script analysis I consider to be aimed at actors, directors (a nd maybe designers as well).[ Start working on the show ten years ahead of rehearsing it! ]It has to be done together with developing the concept (historical and current connotations).
You should read pages on Pre-production period: Pre.
If your homework is not done, don't go for rehearsals, please!
You have to "live" with the play, director. You have to marry it!
Lines of analysis
* Dramatic (understanding the form, the meaning of the play, according to Aristotle's 3 structural priciples)* Character Analysis (for Actors)
* Designers (set, light, sound -- I began to make pages for each)
[ later ]
Spring 2003 Don Juan
In this directory and others, while working on the show (before, during and after) I try to form the system for student-directors (what to ask yourself, how to approach different aspect of production and etc.) -- I hope that going from one showcase (3 Sisters, Hamlet, Wilde) I can find the matrix of "building a show."
There are the shows I directed I cannot use the spripts on the web (Island, Reckless, Who Is Afraid of virginia Woolf, Dangerous Liaisons), but the directors work remain the same. See notes pages in production directories, where I talk to myself.


2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin
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* cite: anatoly antohin. URL + date [ my shows : 1. writer * 2. director * 3. dramaturg * 4. actor ]
British Comedy:
Albatross From: Monty Python Live at the Hollywood Bowl
Salesman: (shouting) Albatross....albatross....albatross.... albatross....albatross...albatross....albatross....albatross
Man: Two good humors please.
Salesman: I haven't got any good humors, I've just got this bloody albatross....(shouts) Albatross
Man: What flavor is it?
Salesman: It's a bird mate, it's a bloody bird, it's not any bloody flavor....(shouts) Albatross
Man: It's got to be some flavor, I mean everything's got a flavor.
Salesman: All right, it's blood albatross flavor, it's bloody sea bloody bird bloody flavor.... (shouts) Albatross
Man: Do you get wafers with it?
Salesman: Course you don't get bloody wafers with it, it's a bloody albatross isn't it...(shouts) Albatross
Man: I'll have two please.
Salesman: I've only got one you cocksucker....(shouts) Albatross....albatross.... albatross....albatross