THEATER 2040 1nd Edition Lecture 19 Outline of Last Lecture I What is acting II Classical acting a Historically b Vocal demands remain III Classical text a Alliteration IV Realistic acting a Konstantin Stanislavsky V Stanislavsky s techniques a Relaxation b Concentration and observation c Important of SPECIFICS d Inner Truth e Every Action Must Have Purpose f Find the Superobjective g Ensemble playing VI Becoming an Actor a Develop the Actor s Instrument VII The Actor s Routine a Audition b Rehearsal c Performance Outline of Current Lecture I The Director a Technical level b Artistic level II Teacher Directors a Didaskalos b Reached pinnacle III Realistic directors a Goal b George II c Psychological interpretation IV Stylized directors a 1890s avant garde movement These notes represent a detailed interpretation of the professor s lecture GradeBuddy is best used as a supplement to your own notes not as a substitute b Goal c Gordon Craig V The Contemporary Director a The Age of the Director i Freedom VI Training VII The Director the expert of theater a Well trained directors have VIII Functions of Director IX Steps of Directing a 1 play selection b 2 conceptualize i Core concept ii High concept c 3 select and collaborate with designers and technicians d 4 Casting i Callbacks e 5 Implementation i Staging ii Actor coaching iii Pacing iv Coordinating v Presenting f Current Lecture I II III The Director a Technical level i Organizes the production ii Involves scheduling and supervising b Artistic level i Inspires and conceptualizes ii Gives the play a vision and purpose Teacher Directors a Originally considered a form of teaching b Didaskalos Greek means teacher c Often playwrights served as directors i Proper way to do it since they wrote it d Teacher director reached pinnacle in 18th 19th centuries i Society fascinated with science ii Plays required research organization and comprehensive coordination iii Organized productions around a specific concept Realistic Directors a End of 19th early 20th century IV V VI VII VIII IX b Goal make shows more lifelike c George II Duke of Saxemeiningen i First modern director ii ALL actors developed realistic characters not just leads d Psychological interpretation i Psychology of human individuals crucial to production of play ii Creativity required iii Possibilities are endless iv Depend on director to do this Stylized Directors a Directors joined antirealist playwrights b 1890s avant garde movement c Goal create originality theatricality and style i No rules of verisimilitude or realistic behavior ii Used symbolism expression and abstract use of deisng d Gordon Craig Captain of the ship the director The Contemporary Director a NOW The Age of the Director i Synthesize script design performance into unique theatrical event ii Shift from teaching to creating iii Freedom 1 Draw from past and current times iv Challenging Training a Directors usually start with a specialty b Comprehensive knowledge of theater how it works i Knowledge of actors designers managers playwright technical side c Graduate School Conservatory d Apprenticeship The Director the expert of theater a Well trained directors have i Literary imagination ii Ability to conceptualize intellectually and visually iii Strong interpersonal skills iv History of theatre v Resourceful Functions of Director a Lead supervise instruct and give shape b Provide a point of focus c Envision the production d Provide artistic leadership to achieve that vision Steps of Directing a 1 Play Selection b 2 Conceptualize i Core Concept 1 What is most important 2 Influenced by director s thoughts ii High Concept 1 Making the familiar surprising 2 Reference to current issue 3 i e a classic play set in modern times c 3 Select and collaborate with designers and technicians i Choose someone with whom they work well ii Suggest and correct ideas if need be 1 Director has last word on design matters iii Shared responsibility in production 1 Key is collaboration d 4 Casting i Initial audition ii Looking for ideal characteristics iii Normally decisions are made within first 5 30 seconds of 2 min audition iv Callbacks 1 Coach actors to see if they can adjust e 5 Implementation putting it all into action i Staging 1 All character s entrances exits movements dances duels onstage ii Actor Coaching 1 Goal give a goal to actor and path towards it plus creative atmosphere of creative freedom for actor iii Pacing 1 Tempo of the play iv Coordinating 1 Bring everything everyone together up through dress rehearsal v Presenting 1 Opening night exchange of power 2 Director s contract expires