Download A Director Prepares: Seven Essays on Art and Theatre by Anne Bogart PDF

By Anne Bogart

A thought-provoking exam of the demanding situations of constructing theatre.

content material: reminiscence --
Violence --
Eroticism --
Terror --
Stereotype --
Embarrassment --
Resistance.
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An exam of the demanding situations inherent in making theatre. targeting the braveness required to create "art with nice presence", every one bankruptcy tackles one of many seven significant parts pointed out with Read more...

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Extra info for A Director Prepares: Seven Essays on Art and Theatre

Example text

Not very well,’ she said. ’ I asked. ’ She explained that, from her point of view, it doesn’t really matter how erudite or naive the observation, but, as an actor, she needs the person responsible for watching, the director, to say something around which she can organize her next attempt. To try to say something in a state of flux even if you do not know the right thing to say is the point. Make an observation. To be silent, to avoid the violence of articulation alleviates the risk of failure but at the same time there is also no possibility of advancement.

A new method for actors based on the early theories of the Russian Konstantin Stanislavsky came to dominate our approach to acting for the rest of this century. Stanislavsky and his company, the Moscow Art Theatre, performed plays by Chekhov and Gorky in the United States during 1923 and 1924. By the time they got to America, these productions were already almost twenty years old and only reflected Stanislavsky’s very early experiments in ‘memory of emotion’ and ‘inner concentration’. But to American sensibilities, this revolutionary approach to acting had a tremendous impact on young theatre people, including Lee Strasberg, Stella Adler, Robert Lewis, Harold Clurman and many others who had never seen anything like this extraordinary acting company from Russia.

He demonstrated by sitting on the chair, tilting forward, and moving his fingers slightly. Then she took his place and precisely copied his tilt and hand gestures. I realized that I was leaning forward on my own chair, deeply distressed. Never having experienced another director at work, I felt like I was watching other people in a private, intimate act. And I recognized that night the necessary cruelty of decision. The decisive act of setting an object at a precise angle on the stage, or an actor’s hand gesture, VIOLENCE ••• 45 seemed to me almost an act of violation.

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