|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
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 -- groups.yahoo.com/group/dramlit (subscribe) and see THR215 for subjects, topics, titles.
Spring 2006 -- Waiting for Godot, Beckett -- new pages ( see shows )
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Spring 2002: Dangerous Liaisons & Realism & Method eGroup
HamletWeb 2002 script.vtheatre.net listing
Fall 2002 THR215 Dramatic Literature: Bedford Compact Intro to Drama
Mailing List & News -- subscribe yourself *
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 ChekhovLOGIC. 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?"Experimental Theatre from Stanislavsky to Peter Brook" by James Roose-Evans. Paperback by Universe Books.
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)?
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.
Stage, Film, Webcast
HamletWeb & other productions
Theory: film & theatre
Script Analysis Class
GeoAlaska: Theatre & Film
Directing, Acting, Drama
Video, DVD, Amazon
Mining Film: links
Instructions on Instructions
Analysis and History
& other nonfiction
Film Directing Method: Acting III ShowsIf 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.
University of Southern Mississippi
Shows as Showcases
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North copyright. eCitations
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