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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 | |