Play Directing - Hodge, Francis; McLain, Michael
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Play Directing describes the various roles a director plays, from selection and analysis of the play to working with actors and designers to bring it to life.
The authors emphasize that the role of the director as an artist-leader collaborating with actors and designers who look to the director for partnership in achieving their fullest, most creative expressions. The text emphasizes how the study of directing provides an intensive look at the structure of plays and acting, and of the process of design of scenery, costume, lighting, and sound that together make a produced play.
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Produktbeschreibung
Play Directing describes the various roles a director plays, from selection and analysis of the play to working with actors and designers to bring it to life.

The authors emphasize that the role of the director as an artist-leader collaborating with actors and designers who look to the director for partnership in achieving their fullest, most creative expressions. The text emphasizes how the study of directing provides an intensive look at the structure of plays and acting, and of the process of design of scenery, costume, lighting, and sound that together make a produced play.

Students are guided through the whole process of working on a play, from analysis from the director's point of view to understanding style in scripts and production options. Aspriring directors are encouraged to use this foundation as a basis from which to set their own goals as creative and dedicated leaders.

Product Description
Play Directing describes the various roles a director plays, from selection and analysis of the play to working with actors and designers to bring it to life. The authors emphasize that the role of the director is that of an artist-leader working in collaboration with actors and designers who look to the director for partnership in achieving their fullest, most creative expressions. The text emphasizes that directing is not a finite and specific "system" of production, but rather it is a means of providing an intensive look at the structure of plays, of acting, and of the process of design in the major areas of scenery, costume, lighting, and sound that together make a produced play.

Features + Benefits

Focuses on plays as central to the ongoing continuum of live theatre from its origin to the present. An Appendix contains a discussion of the director in musical theatre and opera.

Provides a smooth and logical progression of information from one dimension of play directing to another as it explores the director at work with actors, designers, and many other aspects of a production.

Gives the learning director detailed explanations for all the components of stage blocking, including drawings that clearly demonstrate the building blocks of making effective groundplans and evolving expressive compositions, picturizations, and movements, all of which are seen as powerful means of communicating with actors and audiences rather than as technical functions removed from the life of the play.

Emphasizes the importance of the director's understanding and mastery of style in both playscripts and production.

Describes how effective direction is essential at all levels of production, from the beginner, to the advanced director, to the professional.

Helps students build a solid foundation that will make possible their own creative approaches to directing as they master the fundamentals.

Dedication

Preface and Credits for Photographs.

1. Why the Director?

2. What Is a Play? Analysis and Improvisation.

I. PLAY-ANALYSIS: TAKING A PLAY APART.

3. The Foundation and Facade of the Playscript: Given Circumstances and

Dialogue.

4. The Core of the Playscript: Dramatic Action and Characters.

5. Idea and Rhythm-Mood Beats.

6. The Director's Preparation.

II. COMMUNICATION 1: THE DIRECTOR-ACTOR RELATIONSHIP AND STAGE BLOCKING

7. Directing Is Working with Actors 1.

8. Learning to See: The Games of Visual Perception.

9. Helping Actors Communicate through Groundplans.

10. Composition: Helping Actors Discover and Project Basic Relationships.

11. Helping Each Actor Intensify: Gesture and Improvisation with Properties.

12. Picturization: Helping a Group Intensify.

13. The Dynamic Tool of Movement.

14. Coordinating the Blocking Tools in Director-Actor Communication.

15. Helping Actors "Speak" a Play

16. Directing is Working with Actors 2.

Major Project 1A: Scene Practice.

Major Project 1B: Diagnostic Criticism.

COMMUNICATION THROUGH STAGING OPTIONS .

17. The Director's Responsibility for Working Effectively with Design.

18. The Director and the Stage Machine: Symbolization and Synthesis.

19. Director's Options: Choice of the Stage.

20. Director's Options: Scenery, Properties, and Lighting.

21. Director's Options: Costume, Makeup, and Sound.

HELPING AUDIENCES RECEIVE A PLAY

.

22. Responsibility to Audiences.

Major Project 2: Designing and Directing Your Own One-Act Play Production.

III. INTERPRETATION: A MATTER OF STYLE.

23. Style Is Individual Expression.

24. Style in Playwriting and Playwrights.

25. The Director's Analysis of Style in a Playscript.

26. Style in Production: Making Decisions.

27. Style in Production: Modern Plays.

28. Style in Production: New Plays.

29. Style in Production: Plays of Past Ages.

IV. COMMUNICATION 2: THE DIRECTOR-DESIGNER RELATIONSHIP

30. Preparing To Be a Collaborator in the Design Process

31. Directing Is Working with Designers

Major Project 3: Directing a Full-Length, Fully-Produced Play with Designers

Appendix 1. Directing Musical Theatre and Opera.

Appendix 2. The Director and the Dramaturg.

Appendix 3. Your Future as a Director.

Bibliography.

Index.
Play Directing describes the various roles a director plays, from selection and analysis of the play, to working with actors and designers to bring the production to life.
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Autorenporträt
Francis Hodge, late. Hodge was a Professor Emeritus in The University of Texas at Austin Department of Theatre and Dance and served as professor of directing from 1949-79. Michael McLain participated in the founding of the Geffen Playhouse as its initial Literary Director and Artistic Associate, and he was similarly involved in the founding of the School of Theater, Film and Television as its first Associate Dean for Theater. As a Fulbright-Scholar, Professor McLain conducted research in the areas of directing and director training in the former Soviet Union. Subsequently, he was a member of the first faculty exchange between the UC and what was then Leningrad State University. In 2011, Prof. McLain became a Fellow of the Likachev Foundation, St. Petersburg. In over three decades of teaching in the Department of Theater, Prof. McLain directed works by Shakespeare, Chekhov, Brecht and Sam Shepard, among many others, and he is the co-author of "Play Directing: Analysis, Communication and Style," now in its 7th edition from Allyn & Bacon. He is a consultant to the government of Hong Kong in the area of theater curricula for graduate and undergraduate programs