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Play Directing: Analysis, Communication, and Style

ISBN: 9780135011072 | 0135011078
Edition: 4th
Format: Hardcover
Publisher: Prentice Hall Professional Technical Reference
Pub. Date: 12/1/1993

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SummaryTable of Contents
This authoritative and highly respected classic text and "workbook" explores all aspects of directing plays in live theatre, including working with actors, playwrights, and designers. Thoroughly revised and updated, Play Directing, Fourth Edition, outlines for readers a technical method for examining the structure of ALL playscripts in order to show how plays are made and how directors can prepare. Author Francis Hodge focuses on the various methods a director can use in communicating with actors and designers. In addition, Hodge illustrates how to bring out the actor through visual stimulations and through the development of oral-aural expertise.
LIST OF PLAYS USED IN PHOTOGRAPHSix(1)
LIST OF AUTHORS WHOSE PLAYS APPEAR IN PHOTOGRAPHSx(1)
DEDICATION AND CREDITS FOR PHOTOGRAPHSxi(6)
PREFACExvii
... MORE1 WHY THE DIRECTOR?
1(6)
2 CAPTURING THE WILD BIRD: THE DRAMATIC POET AND THE DIRECTOR'S JOB
7(11)
PART I Taking a Play Apart: Play-Analysis: The Director's Primary Study18(48)
3 THE FOUNDATION AND FACADE OF THE PLAYSCRIPT: GIVEN CIRCUMSTANCES AND DIALOGUE
18(12)
4 THE HARD CORE OF THE PLAYSCRIPT: DRAMATIC ACTION AND CHARACTERS
30(16)
5 THE DERIVATIVES OF DRAMATIC ACTION IN A PLAYSCRIPT: IDEA AND RHYTHMIC BEATS
46(14)
6 THE DIRECTOR'S PREPARATION: THE BASIS OF COMMUNICATION
60(6)
PART II Communication 1: The Director-Actor Relationship and the Visual Tools66(222)
7 DIRECTING IS COMMUNICATING: WORKING WITH ACTORS
66(12)
8 LEARNING TO SEE: GAME OF VISUAL PERCEPTION
78(2)
9 THE GROUNDPLAN: THE BASIC TOOL IN DIRECTOR-ACTOR COMMUNICATION
80(14)
10 COMPOSITION: DISCOVERING AND PROJECTING BASIC RELATIONSHIPS
94(31)
11 HELPING EACH ACTOR INTENSIFY: GESTURE AND IMPROVISATION WITH PROPERTIES
125(9)
12 PICTURIZATION: HELPING A GROUP INTENSIFY
134(12)
13 THE DYNAMIC TOOL OF MOVEMENT
146(9)
14 COORDINATING VISUAL TOOLS IN DIRECTOR-ACTOR COMMUNICATION
155(8)
Communication 2: Helping Actors Speak a Play
15 THE DIRECTOR'S JOB IS FINDING ORAL AND VISUAL BALANCE
163(37)
*MAJOR PROJECT 1A: SCENE PRACTICE
178(17)
*MAJOR PROJECT 1B: DIAGNOSTIC CRITICISM
195(5)
Communication 3: The Director's Design Function and Communicating through Staging200
16 DIRECTING IS DESIGNING
201(7)
17 THE DIRECTOR AND THE STAGE MACHINE: SYMBOLIZATION AND SYNTHESIS
208(9)
18 DIRECTOR'S OPTIONS 1: CHOICE OF THE STAGE
217(17)
19 DIRECTOR'S OPTIONS 2: SCENERY, PROPERTIES, AND LIGHTING
234(23)
20 DIRECTOR'S OPTIONS 3: COSTUME, MAKEUP, AND SOUND EFFECTS
257(21)
Communication 4: Helping Audiences Receive a Play
21 RESPONSIBILITY TO AUDIENCES
278(10)
MAJOR PROJECT 2: DESIGNING AND DIRECTING YOUR OWN PRODUCTION
283(5)
PART III Interpretation: A Matter of Style288(109)
22 STYLE IS INDIVIDUAL EXPRESSION
288(11)
23 STYLE IN PLAYWRITING AND PLAYWRIGHTS
299(17)
24 THE DIRECTOR'S ANALYSIS OF STYLE IN A PLAYSCRIPT
316(14)
25 STYLE IN PRODUCTION: MAKING DECISIONS
330(14)
26 STYLE IN PRODUCTION: MODERN PLAYS
344(17)
27 STYLE IN PRODUCTION: NEW PLAYS
361(6)
28 STYLE IN PRODUCTION: MUSICAL THEATRE AND OPERA
367(5)
29 STYLE IN PRODUCTION: PLAYS OF PAST AGES
372(25)
MAJOR PROJECT 3: DIRECTING WITH DESIGNERS
391(6)
EPILOGUE ON THE ROAD: YOUR FUTURE AS A DIRECTOR397(9)
BIBLIOGRAPHY406(7)
INDEX413

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