Theatre Troupes Context Research and Questions--due Monday, 11/8
Test--Tuesday 11/9. It will cover:
- Directing responsibilities
- "Death of a Salesman"
- Theatre Troupe Project
See posts below for more information!!
Tuesday, November 2, 2010
Due Dates and Annoucements
"Death of a Salesman" Act 2 Questions--due Wednesday, 11/3
Theatre Troupes Context Research and Questions--due Monday, 11/8
Test--Tuesday 11/9. It will cover:
Theatre Troupes Context Research and Questions--due Monday, 11/8
Test--Tuesday 11/9. It will cover:
Monday, November 1, 2010
Homework for 11/1/10
Answer the following "Death of a Salesman" questions:
- What does Willy's garden symbolize? Consider his American Dream and these lines he speaks: I've got to get some seeds. I've got to get some seeds, right away. Nothing's planted. I don't have a thing in the ground.
- Hap tries to give Linda flowers. She throws them to the ground. The director (Volker Schlöndorff) chose to have Willy pick them up and put them in a vase of water. Why do you suppose Schlöndorff makes this choice?
- How does Biff begin to represent "truth" in this play? Consider this line he speaks: I realized what a ridiculous lie my whole life has been.
- Why doesn't Willy want Biff to tell him the truth about the job he never had, or about being in jail?
- Consider the following lines: Biff: Pop! I'm a dime a dozen, and so are you!
Willy: I am not a dime a dozen! I am Willy Loman, and you are Biff Loman! What does Biff mean? What does Willy mean? What is Arthur Miller (playwright) tell the audience literally and figuratively? - Who changes in this play? Who does not change? What is Miller's point?
- Why does Willy die at the end? Does he commit suicide?
Theatre Troupes: Context
Today your group is going to begin researching the CONTEXT of the play you've chosen, in order to begin interpreting. The director and the dramaturg should discuss and give assignments to the other members of the theatre troupe. Remember these important research items:
- What is the setting of the play?
- What historical occurrences or situations would the characters of this play consider common knowledge or current events?
- What race/gender/class are these characters?
- What is the psychology of each character? Why?
- Which characters are FLAT and which are DYNAMIC?
- How does the society and culture of the play affect each character?
- How should the stage for this era look?
- What style of clothing would these characters have? Would it change based on their race/gender/class?
- What sounds will need to be produced? Where can they be procured?
- Are they're any words in the play that we don't understand or can't pronounce? FIND THEM ALL.
Your group is required to use the sources listed below, all of which are also available through the PSM LRC. Feel free to use other sources at the PSM LRC--I've just linked a few I think will be helpful.
You're group may also use the Internet, provided the site is reliable. One troupe member should be in charge of compiling an MLA Annotated Bibliography.
eBooks
- Gale Contextual Encyclopedia of American Literature
- Literary Movements for Students: Presenting Analysis, Context, and Criticism on Literary Movements
- American Eras
Thursday, October 28, 2010
Theatre notes: Director responsibilities continued...
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.
-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.
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?
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