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Dedication | |
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Preface and Credits for Photographs | |
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Why the Director? | |
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What Is a Play? Analysis and Improvisation | |
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Play-Analysis: Taking A Play Apart | |
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The Foundation and Facade of the Playscript: Given Circumstances and Dialogue | |
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The Core of the Playscript: Dramatic Action and Characters | |
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Idea and Rhythm-Mood Beats | |
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The Director's Preparation | |
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Communication 1: The Director-Actor Relationship And Stage Blocking | |
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Directing Is Working with Actors 1 | |
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Learning to See: The Games of Visual Perception | |
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Helping Actors Communicate through Groundplans | |
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Composition: Helping Actors Discover and Project Basic Relationships | |
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Helping Each Actor Intensify: Gesture and Improvisation with Properties | |
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Picturization: Helping a Group Intensify | |
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The Dynamic Tool of Movement | |
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Coordinating the Blocking Tools in Director-Actor Communication | |
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Helping Actors ldquo;Speakrdquo; a Play | |
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Directing is Working with Actors 2 | |
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Major Project 1A: Scene Practice | |
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Major Project 1B: Diagnostic Criticism | |
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Communication Through Staging Options | |
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The Directorrsquo;s Responsibility for Working Effectively with Design | |
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The Director and the Stage Machine: Symbolization and Synthesis | |
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Director's Options: Choice of the Stage | |
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Director's Options: Scenery, Properties, and Lighting | |
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Director's Options: Costume, Makeup, and Sound | |
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Helping Audiences Receive A Play | |
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Responsibility to Audiences | |
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Major Project 2: Designing and Directing Your Own One-Act Play Production | |
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Interpretation: A Matter Of Style | |
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Style Is Individual Expression | |
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Style in Playwriting and Playwrights | |
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The Director's Analysis of Style in a Playscript | |