2008 :

... 2009 and After : stagematrix.com & teatr.us + chekhov.us + playwrighting.net [ beta.vtheatre.net ] -- research files.

...


"Theatre is not a mirror but a magnifying glass." Mayakovsky Since I am about to teach DramLit (Fall 2002) and Playscript Analysis (Fall 2003) again, I have to set my mind on a different path -- to inject some drama and narratives. So, there are several characters, who will be acting the scenes and stories. The obvious ones:

Aristotle, dead philosopher

Anatoly, me

Dead Playwrights (see the list on the left)

Modernists and Postmodernists

Live and Cyber Students

Voices, Spirits, Souls, Ghosts, Ideas and so on.

Place - Eternity
Time - Now

[Maybe I could let Chekhov to be the main guide or narrator.]

Also, Film Directing has the first part on SCRIPTING. There are pages like FAQ to help you navigate this directory. I made Preface in addition to Intro page, another "support page"!

For THR215 Dramatic Literature (DramLit), I will be using Shakespeare logo:

The practical applications of the script analysis are in SHOWS directory, the plays I directed or want to direct.

NEW :

For THR413 Playscript Analysis -- Chekhov:


SHOWS: 12th Night
I am about to give up on organizing my webpages; I started them with my notes for classes, to help me to teach -- and they are those notes for myself, which I made public. I still keep them and still in this "notes" style.

Flash-banners with the directories URL like write.vtheatre.net should take to the pages on subject (in this case to my writing). I leave my egroups open, even if I do not teach class at the moment. For news and announcements, for use of the archives; my notes, links, student papers.

Fall 2002: Dramlit

Summary

Two ways to navigate this SCRIPT directory: horizontal path (acting, directing, film pages) and vertical (215, 413 and Themes subdirectory).

Questions

2003 changes: THR215 Dramatic Literature and THR413 Playscript Analysis have their own subdirectories. Instead of the usual chronological oerder I am using "topical" (see new THEMES subdirectory). Also, the new vertical hierarchy (part 1, 2 and so on). We start with Chekhov (read 3 Sisters online). NTL, working knowledge of Hamlet is expected.
So, the syllabus will be reworked (and webpages). Come back for updates.

Notes

You know something about Grammar of Drama, read 215 pages, you know a lot -- 413. If you know nothing, go to 200X Aesthetics. Shrew04

theatre studies @ Yale *

M. Chekhov -- Acting One: Fundamentals

Theatre Theory

amazon: plays

* NEW directory DOC: Ms. Julie (sample).

* Both classes are intended for theatre majors (acting, directing, tech).

[ new quotes are from -- A Study of the Modern Drama: A Handbook for the Study and Appreciation of the Best Plays, European, English and American, of the Last Half Century * Book by Barrett H. Clark; D. Appleton, 1925 ]

some:

* A Doll's House

* The Seagull

... reading The Playwright as Thinker, a Study of Drama in Modern Times Book by Eric Bentley; Reynal & Hitchcock, 1946

A Kind of Alaska: Women in the Plays of O'Neill, Pinter, and Shepard Book by Ann C. Hall; Southern Illinois University Press, 1993

Henrik Ibsen * Book by Harold Bloom; Chelsea House Publishers, 1999


SHOWS & SCRIPTS:

new-2006

Script Analysis: Pinter - Homecoming
Theatre UAF * Fall.06

homework

... see web page!


Theatre with Anatoly

Title

2005: mini-chekhov05
Actors and directors, in order for you to act or direct, you have to understand the mind of playwright, who began the journey long before you meet the play....
Shakespeare -- PLAYS directory

Playscript Analysis

Dramaturgy... is?
for Actors and Directors
Fall 2007 -- updates

GRAMMAR of DRAMA:

THR215 Dramatic Literature --- THR413 Playscript Analysis

authors --- themes --- subjects (topics)

CRAFT ---- ART

plays --- periods --- showcases

[ vertical hierharchy ]

...
My task is simple: to read with you together the greatest dramatic texts. Alas, the challenge is the masterpieces' simplisity. Once (maybe twice) I taught 200X Aesthetics and struggled with the title of this course -- Aesthetics... Love for Beauty, Love of Beauty? Come on! Beauty is Love.
They say "truth" or they say "good" -- I don't know. Beautiful is all -- truth and good. Beauty is this manifistation of Love. Can you see it?
This is aim of this class -- learn how to see the beauty of drama on the page, this potentiality of the spectacle.
Hold on! But to write this appreaciation of the beautiful? It should be beautiful too? Look:

OLGA: Father died just a year ago, on this very day -- the fifth of May, your name-day, Irina. It was very cold, snow was falling. I felt as though I should not live through it; you lay fainting as though you were dead. But now a year has passed and we can think of it calmly; you are already in a white dress, your face is radiant. [The clock strikes twelve.] The clock was striking then too [a pause]. I remember the band playing and the firing at the cemetery as they carried the coffin. Though he was a general in command of a brigade, yet there weren't many people there. It was raining, though. Heavy rain and snow. [ Chekhov's "3 Sisters" -- the beginning of the play. ]

What do you see? What do you hear?
"It was raining, though. Heavy rain and snow." (I use different translations, sometimes my own, sometime in original). Why is it great? Look is what before -- and what is after those short lines. Next: "IRINA. Why recall it!" That's right! Why to recall it? Why do we remember? What do we remember? Oh, I jumped ahead of myself!

Dramatic Literature

This directory serves both classes -- THR215 Dramatic Literature and THR413 Playscript Analysis... and this is a problem. The DramLit is supposed to introduce to analysis and starts with the Greeks and ends where the Playscript begins -- high modernity and postmodernity.

They should have their own directories, but I didn't arranged it this way, when I knew little about web-bulding. Now it's difficult to do, unless I am to do it all over again. If you want to see the difference, you better go to the CLASSES directory and follow the classes assignments.

As little as I knew, the pages now are used for different purposes -- for directing and acting classes. Also, I had to build 200X Aesthetics Files directory to give an intro to the drama theory, but this course has its own structure and goals: Theatre and Art Through Film.

I try to compensate the lack of clearity with the links to everything, but maybe the new idea of organizing the pages as a textbook can get me out...

Use "service" pages, if you're lost!

ARISTOTLE. Anatoly, why do you use this word "playscript," instead of "plays" or "drama"?

ANATOLY. Well, sir, twenty three centuries ago, your time, it was impossible to images what kind of wierd "texts" will be written and staged. You see, I am using another term "texts" -- because of the structuralism, performance theory and postmodernist philosophy...

ARISTOTLE. What are talking about?

ANATOLY. According to semiotics, sir, everything is a "text" or "script" encoded in special language. That's why I say "play-script"...

ARISTOTLE. Semio... what? Greek?

ANATOLY. Yes, the study of signs. Drama has its own language, as you wrote, special code -- and this is what we study. Analysis?

ARISTOTLE. Show me the book... What language is that?

ANATOLY. English. Developed out of Latin, sir. After your time, of course.

ARISTOTLE. What about my language?

ANATOLY. Dead. It's a dead language, sir. Sorry. But the dramatic language is not! You see?

ARISTOTLE. Do you use my book, the small one, you know...

ANATOLY. All the time! The Poetics! In all my classes, sir. Very good book.

ARISTOTLE. Good. This is good. How do you use it?

ANATOLY. We start with your six principles, or elements -- structure and texture. Idea, Plot, Character...

ARISTOTLE. All right, all right, I know, I wrote it. Why not with the composition: the beginning, the middle and the end?

ANATOLY. You see, sir, they think this is too simple. Like ABC or 123...

ARISTOTLE. Simple? Fools! Do they know what is needed for exposition?

ANATOLY. That's why I start with the six principles! So they can see what must be established right away...

ARISTOTLE. I see. Do they understand why Idea, Plot and Character I defined as "structure"?

STUDENT. Professor Anatoly, who are talking with?

ARISTOTLE. I hate teaching! I like thinking, I like talking to myself.

STUDENT. Did you say "structure"? I understand why plot or even characters could be this structure, but "thought" or "idea"?

ARISTOTLE. Tell him not to use word "plot" -- use "action"! What do they read first?

ANATOLY. "Hamlet" by Shakespeare.

ARISTOTLE. Any good? I don't remember him.

ANATOLY. Very good, sir. Englishman, dead, too.

ARISTOTLE. Wait a minute! The youngster! Now I recall, the bold one, just came from the Purgatory! Does he use my principles?

[Read the first scene from "Hamlet"]

PS

My main inretest is in the postmodern theatre (see Theatre Theory) and the pages in SCRIPT directory are a prelude for this topic.

2007 Stoppard : F/G are Dead (main stage)

Next: Preface
Chekhov-3-Sisters
3 Sisters UAF Virtual Theatre
Did you see "Spring 2002: Dangerous Liaisons" at the top (right)? This is where the script analysis will be for a while (since I do not teach dramclasses now, maybe in the Fall 2002 -- DramLit). Subscribe to the eForum, or read the DL pages (my notes for actors and crew). Ask questions, post your comments, be a part of the cyber-production group!

Mostly: Text & Director-Actor, script analysis, scene study, dramatic composition, monologues, character exploration, theory of Method Acting

3sisters-Doctor
Virtual 3 Sisters
: online text

GeoAlaska: vtheatre.net

Stage Directing
Shows as Showcases
Filmmaking
Theory
Semiotics
Classes
Drama Analysis
Virtual Theatre
Writing
Acting
Aesthetics
Books
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Eisenstein-October
Changing LINKS