2008 -- dramaturgy

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Oscar Wilde - The Importance of Being Earnest * 2007 DramLit class
images Theatre UAF Three cycles of analysis (different in nature): preproduction, rehearsals, postproduction.

Links

Featured Pages: Production and Glossary (a must for every directory?)

First, the basics. Dramatic composition: exposition, climax, resolution. The levels of dramatic analysis.

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. Commedia-Shake
^ The Shrew Film Directing "showcase" ^ Watts-Galatea
Pygmalion 2005
* Shaw * online *

Homecoming
Fall 2006: Pinter

vTheatre: postmodern project ...


Analysis

OWilde
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).

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 principles)

* Character Analysis (for Actors)

* Designers (set, light, sound -- I began to make pages for each)

[ later ]

[ Start working on the show ten years ahead of rehearsing it! ]

Spring 2003 Don Juan

Notes

Finally, the self-evaluation: what did I learn from directing this show? How different I am now?

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.

Next: Notes
Chekhov: Farces & Love Letters -- Fall 2004 Meyerhold-Formula 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

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