Gaining Epmphasis
-Why is it easier for a television or screen director to direct the audience’s attention to something than a stage director?
Film can eliminate what ever is un necessary. Stage diector have limited options.
-Movement-How can moving help or hinder a play?
-Height-how can a director alter the height of an actor (without just choosing tall/short actors)
For shorter actors to get noticed they could make bold decisions such as standing on a chair, or making a loud noise.
-Body position-what positions are most powerful?
Facing the audience
-Stage location-What locations on the stage are best to get the audience’s attention?
Center and Up-right(audience's up-left)
-Sound-speakers, silence, cue
During intense pauses, everyone must be silent.
Before an intense pause, there must be a loud gesture such as a deep breath.
To make sure that the audience pays attention to the silence, actors can interject.
-Light-why does this help?
Humans are drawn to more light. Humans can be manipulated by light.
Thursday, October 28, 2010
Theatre Announcements
- Finish discussion director's responsibilities
- Finish Death of a Salesman
- Test next Tuesday or Wednesday
- Begin reading "Cyrano de Bergerac"
Monday, October 25, 2010
HW: Finding your one-act play
HW: Browse through this archive of one-act plays. Begin skimming them. Your group is going to choose one to produce. Any preferences you have will be useful.
http://www.one-act-plays.com/
http://www.one-act-plays.com/
From the Reading: Notes on Directing through 10/26
Why should the director know as much as possible about as many things as possible?
How is the actor’s responsibility to assimilate into any culture or situation, depending on the role, similar to the director’s responsibility to know as much as possible about as many things as possible?
Step 1: Interpret the script.
How should the director read the script?
3 times
Once as an audience member
Paying attention to what each scene is about and how the action is revealed through dialog and movements
With a pencil in hand-blocking, important passages, ideas, ANNOATIONS
What combination of seeing and hearing does a director need to focus on?
Composition: Just like ART class or PHOTOGRAPHY
-The visual picture of the stage should be pleasing to the audience
-Balance
Picturization: what is it?
-What are some basic patterns of movement that directors can use?
Psychology
-Explain the magnet metaphor
-How does that relate to the set design?
-How does the set design relate to the psychology of the actors
Gaining Epmphasis
-Why is it easier for a television or screen director to direct the audience’s attention to something than a stage director?
-Movement-How can moving help or hinder a play?
-Height-how can a director alter the height of an actor (without just choosing tall/short actors)
-Body position-what positions are most powerful?
-Stage location-What locations on the stage are best to get the audience’s attention?
-Sound-speakers, silence, cue
-Light-why does this help?
-Line of sight
*Why do people tend to start top left, look across and then down from the left again?
*How does knowing this help the director?
*How can the director get the audience’s attention to one actor without having every other actor staring at the target-actor?
Contrast-difference stands out
Rehearsals-what is important? What must be considered?
-Prompt book? You’re going to need one-each of you!
-What should be in it?
-How are you going to create yours?
How is the actor’s responsibility to assimilate into any culture or situation, depending on the role, similar to the director’s responsibility to know as much as possible about as many things as possible?
Step 1: Interpret the script.
How should the director read the script?
3 times
Once as an audience member
Paying attention to what each scene is about and how the action is revealed through dialog and movements
With a pencil in hand-blocking, important passages, ideas, ANNOATIONS
What combination of seeing and hearing does a director need to focus on?
Composition: Just like ART class or PHOTOGRAPHY
-The visual picture of the stage should be pleasing to the audience
-Balance
Picturization: what is it?
-What are some basic patterns of movement that directors can use?
Psychology
-Explain the magnet metaphor
-How does that relate to the set design?
-How does the set design relate to the psychology of the actors
Gaining Epmphasis
-Why is it easier for a television or screen director to direct the audience’s attention to something than a stage director?
-Movement-How can moving help or hinder a play?
-Height-how can a director alter the height of an actor (without just choosing tall/short actors)
-Body position-what positions are most powerful?
-Stage location-What locations on the stage are best to get the audience’s attention?
-Sound-speakers, silence, cue
-Light-why does this help?
-Line of sight
*Why do people tend to start top left, look across and then down from the left again?
*How does knowing this help the director?
*How can the director get the audience’s attention to one actor without having every other actor staring at the target-actor?
Contrast-difference stands out
Rehearsals-what is important? What must be considered?
-Prompt book? You’re going to need one-each of you!
-What should be in it?
-How are you going to create yours?
Wednesday, October 20, 2010
"Death of a Salesman" Film Questions Part 1
Answer questions on loose leaf (typed acceptable) by 10/22. Use complete sentences and evidence when possible.
Character list:
Willy Loman (father)
Linda Loman (mother)
Biff Loman (son)
Happy (Hap) Loman (son)
Charley (neighbor)
“Death of a Salesman” Response Questions
1. Why cast a small (in stature) Willy Loman? What characters seem to purposefully be larger than Willy?
2. What do you notice about the lighting choices during the flashbacks versus the present day scenes? Why would the director make that choice?
3. Why does Linda cover for Willy? What is her goal?
4. Give evidence that Biff is still childish.
5. Why is Willy behaved worst when Biff is around?
6. List the elements against Willy (people, situations, concrete and abstract). Are these his fault? Consider Linda’s statement: “He’s not a great man, but he’s a man.”
7. Is Linda right? Do we need to pay attention to the Willy Loman’s of this world?
Character list:
Willy Loman (father)
Linda Loman (mother)
Biff Loman (son)
Happy (Hap) Loman (son)
Charley (neighbor)
“Death of a Salesman” Response Questions
1. Why cast a small (in stature) Willy Loman? What characters seem to purposefully be larger than Willy?
2. What do you notice about the lighting choices during the flashbacks versus the present day scenes? Why would the director make that choice?
3. Why does Linda cover for Willy? What is her goal?
4. Give evidence that Biff is still childish.
5. Why is Willy behaved worst when Biff is around?
6. List the elements against Willy (people, situations, concrete and abstract). Are these his fault? Consider Linda’s statement: “He’s not a great man, but he’s a man.”
7. Is Linda right? Do we need to pay attention to the Willy Loman’s of this world?
Friday, October 15, 2010
Monologue Performance start Monday!
Notes from Ms. Finder's visit
Stage presence:
never turn your back to the audience.
be aware: if you can see the audience, they can see you
Keep shoulders facing audience at all times.
Voice:
project your voice
When turning on stage, be aware that it's harder for the audience to hear.
When to pause--use your interpretation of the character.
Blocking:
Be realistic: what would your character be doing during this monologue?
You are on stage.
No need to move a lot.
Don't let movement take away from the message of your monologue.
Keep the purpose of "monologue" in mind--these are internal thoughts.
Where you look--movements that are believable for the emotion of the lines being spoken.
Balance between cheesy/overdone and looking like you aren't comfortable on stage.
We should know your movements are part of the planning, not your, real, true, nervousness.
Another character is on stage when your character is speaking--pretend someone is there.
Stage presence:
never turn your back to the audience.
be aware: if you can see the audience, they can see you
Keep shoulders facing audience at all times.
Voice:
project your voice
When turning on stage, be aware that it's harder for the audience to hear.
When to pause--use your interpretation of the character.
Blocking:
Be realistic: what would your character be doing during this monologue?
You are on stage.
No need to move a lot.
Don't let movement take away from the message of your monologue.
Keep the purpose of "monologue" in mind--these are internal thoughts.
Where you look--movements that are believable for the emotion of the lines being spoken.
Balance between cheesy/overdone and looking like you aren't comfortable on stage.
We should know your movements are part of the planning, not your, real, true, nervousness.
Another character is on stage when your character is speaking--pretend someone is there.
Friday, October 1, 2010
Theatre Exam Review
Quarter 1 Exam
Format
Format
- 20 true/false
- 5 short answer
- reading comp and analysis
- essay
Content:
- History
- Audience-Actor Relationship
- Acting
- Voice
- Body
- Stage directions
- Stage design/set-up
- "The Lottery"
- "Sorry, Wrong Number"
- "Sorry, Right Number"
- "Dust on the Road"
- "The Undercurrent"
- NEW: "Trifles" Look at this play. If 30 minutes isn't long enough for you to read it, you should read it this weekend!!! It's in Fifteen American One-Act Plays.
"Sorry, Right Number"
You can finish the show we started here: http://www.youtube.com/watch?v=8hdH-kO7y-A
It's posted in 4 parts. Enjoy!
It's posted in 4 parts. Enjoy!
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