NOTE: SCRIPT (directory) pages were used for Drama Classes, but now I place the links for Directing, Acting and Playwrighting courses, because every student of theatre must understand the structure of dramatic texts.

2008 : 413 200X > 215


2005 updates: Small Chekhov Fall * "Four Farces & One Funeral" -- Chekhov.05
Chekhov's one-acts are updated -- The Bear, The Proposal (1st act -- Oh, Love!), Wedding, Tobacco (Act II -- Ah, Marriage!), but I'm still working on the "funeral" (Last Day of Anton Chekhov). mini-chekhov
I am teaching DramLit -- (subscribe) and see THR215 for subjects, topics, titles.
Spring 2006 -- Waiting for Godot, Beckett -- new pages ( see shows )
No theatre history -- we cover only two "periods" in the 20th century: High Modernity and Postmodern (POMO) in Playscript Analisys.
Shakespeare is outside of our territory, but I will be using Hamlet and Twelfth Night as samples of "classical" (premodern) drama. I believe that all have to know the basics.

I teach (thaught) Aesthetic Appreciation: Art, Music, Theatre (Through Film) and, if you see that you still do not know the terms I am using in class, check the pages with the basics on "Theories of Beauty" (I call "Aesthetics" and "Appreciation" -- LOVE FOR BEAUTY).

Directories -- frames on your left.

Write Index

Virtual Chekhov
and Dramlit Forum
-- subscribe!

If you plan to register, check the websites first!


Dramlit 2004: Fall & Fall 2005 *


This directory is for "topics 'n issues" (playwrights and principles), the classes THR215 Dramlit and THR413 Playswcript Analysis have their own directories * "Four Stages": Oedipus -- Hamlet -- 3 Sisters -- Godot. Evolution: Plot, Characters, Themes.

THR200X Aesthetics: Aristotle * The Poetics *

WRITER segment (new): you write your own monologues, scenes, one-acts.




2004: The invention of dramatic art, and of the theatre, seems a very obvious and natural one. Man has a great disposition to mimicry; when he enters vividly into the situation, sentiments, and passions of others, he involuntarily puts on a resemblance to them in his gestures. Children are perpetually going out of themselves; it is one of their chief amusements to represent those grown people whom they have had an opportunity of observing, or whatever strikes their fancy; and with the happy pliancy of their imagination, they can exhibit all the characteristics of any dignity they may choose to assume, be it that of a father, a schoolmaster, or a king. But one step more was requisite for the invention of the drama, namely, to separate and extract the mimetic elements from the separate parts of social life, and to present them to itself again collectively in one mass; yet in many nations it has not been taken. [S] V. Stanislavsky.
ANDREY. Good evening, my good man. [louder]. I say, you have come late.... Dear old man, how strangely life changes and deceives you! Today I was so bored and had nothing to do, so I picked up this book -- old university lectures -- and I laughed... Good heavens! I'm the secretary of the District Council, I am the secretary, and the most I can hope for is to become a member of the Board! Me, a member of the local District Council, while I dream every night I'm professor at the University of Moscow -- a distinguished man, of whom all world is proud! [to the mirror] Perhaps I shouldn't talk to you. I must talk to somebody, and, my wife, she doesn't understand me. My sisters I'm somehow afraid of -- I'm afraid they will laugh at me... Look, I don't drink, I do not like restaurants, but how I'd enjoy sitting at some small bar at this moment! You sit in a huge room at a restaurant; you know no one and no one knows you, and at the same time you don't feel a stranger... But here you know everyone and everyone knows you, and yet you are a stranger -- a stranger... A stranger, and lonely... [ANDREY to himself in the mirror]. You can go. Take care of yourself. Go... [a pause]. Gone [a ring]. Yes, it's work... [leaves]

[ 3 Sisters, Act II, my adaptation for UAF ]

ORGANIZATIONAL. I teach this class with the web-support and I have to make new pages in process. For subject/title pages rely on Dramatic Literature existing pages. Subject means issue or topic: for example, Composition-Exposition. Title -- script title or playwright.

Many new pages are instructional -- my notes for myself for this class (something like a "handbook for instructors").

Basically, the footnotes and endnotes; since I have no "apparatus" for my webpages. Maybe it could help me to finilize the textbook pages, removing questions without answers to the NOTES pages...

Anton Chekhov

LOGIC. We start and finish with Chekhov. First, I direct Three Sisters. Second, both Modern and Postmodern drama are in Chekhov and we have to do it in two takes. Chekhov-Ibsen and Chekhov-Beckett. When we will be done with Beckett and After the Absurd, we go back to Chekhov to see where it all came from.

See all Chekhov webpages, read the play and boring Stanislavsky (p.1148) "Direction and Acting" (or/and Method and Stanislavsky).

Read Sigmund Freud (1106), we will need his "Psychopatic Characters on the Stage" for Ibsen and Strindberg.

Questions: Realism and Naturalism. What is mimesis (imitation of reality), reality (inner world), individual and objectivity?

Philosophy and Literature at the Age of Cinema. New man, new society, new mirror (art methods). [check Film-North website and expecially Visions of the Northern Mind, the class I plan to teach]

Revolutions and revolution in theatre technology. They all begin with the changes in method of thinking and even more deeply -- our perception of the world. Chekhov is such a revolution. Marxists believe that time shapes man (Marx's concept of individuality), but one may say that the Russian Revolution took place because of Chekhov (Lenin's article on Tolstoy and Revolution of 1905).

Einstein's Chronotope: Universal (global) Space & Time. How to use those two categories. "Non-Aristotle" and "Anti-Aristotle" approaches. Plays without Plot, Characters and Conflict?

How do the six principles by Aristotle look like now (modern and postmodern)?

"Experimental Theatre from Stanislavsky to Peter Brook" by James Roose-Evans. Paperback by Universe Books.

The Theory of the Modern Stage, edited by Eric Bentley. This includes essays by Artaud, Brecht, Pirandello, Craig, Shaw, Yeats, Zola, Piscator, Hauser and Lukacs, among others. Other essays on Appia, Stanislavsky and Wagner are included too. Nothing as recent as Grotowski, however. The collection was first published in 1968 and was reprinted in 1990 by Penguin Books.
virtual theatre

Stage, Film, Webcast

Webman's Diary
& other productions
Physical Theatre
Theory of Spectatorship
Directing-ONLINE Fillmaking
Theory: film & theatre

SHOWS: 12th Night
Script Analysis Class

+ forum
GeoAlaska: Acting, Directing, Theory, Shows, Books
GeoAlaska: Theatre & Film

Directing, Acting, Drama
film books

Video, DVD, Amazon
Mining Film: links
Student Pages:
Instructions on Instructions

theatre books

acting, monologues
Classes: Aesthetics
Films&Movies Directory

Analysis and History
mailing list

& other nonfiction
Film Directing
Method: Acting III

If you are looking for "playwrighting pages" -- I do not have many of them. I write plays myself, but I do not teach playwriting. I have independent studies, but somehow didn't have formal classes in playwrighting. I think that if you want to learn the craft, you study great plays. Everything you need to know is in there.

Working on your scripts is working on yourself and, perhaps, class environment is wrong for that purpose. Even when it's just a seminar. Could it be a workshop? I guess...

To Think About (from the List):

Bruce A. McConachie, in "Historicizing the Relations of Theatrical Productions," in Reinelt & Roach's CRITICAL THEORY AND PERFORMANCE, uses Raymond Williams's categories of social relations in production in determining the social relations of various positions (producers, stars, etc.) in late 19th and early 20th centuries in American theatre.

He identifies stage directors in that era as "corporate professionals," like newspaper writers, who were essentially employees and could not copyright their work. Playwrights, on the other hand, he identifies "market professionals" who participate directly in the sale of their work. McConachie notes that "directors had and continue to exercise less independence than playwrights and far less than producers in the modern theatre.

He refers to a case described in "The Theatre" in 1906, in which one director accused another of stealing the configuration of a chorus line (his footnote refers the reader to the "Ben Teal File" in the Robinson Locke Collection at Lincoln Center Library).

It seems to me that this social elationship described by McConachie is at the heart of directors' increasing insistence that their work is their intellectual property.

Frank Kuhn
University of Southern Mississippi
Office: 601-266-6442


Both drama classes must be required for Directing Students!
Next: preface


Stage Directing
Shows as Showcases
Drama Analysis
Virtual Theatre

Shaw -- Pygmalion