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Table of Contents
|Preface and Credits for Photographs|
|Why the Director?|
|What Is a Play? Analysis and Improvisation|
|Play-Analysis: Taking A Play Apart|
|The Foundation and Facade of the Playscript: Given Circumstances and Dialogue|
|The Core of the Playscript: Dramatic Action and Characters|
|Idea and Rhythm-Mood Beats|
|The Director's Preparation|
|Communication 1: The Director-Actor Relationship And Stage Blocking|
|Directing Is Working with Actors 1|
|Learning to See: The Games of Visual Perception|
|Helping Actors Communicate through Groundplans|
|Composition: Helping Actors Discover and Project Basic Relationships|
|Helping Each Actor Intensify: Gesture and Improvisation with Properties|
|Picturization: Helping a Group Intensify|
|The Dynamic Tool of Movement|
|Coordinating the Blocking Tools in Director-Actor Communication|
|Helping Actors ldquo;Speakrdquo; a Play|
|Directing is Working with Actors 2|
|Major Project 1A: Scene Practice|
|Major Project 1B: Diagnostic Criticism|
|Communication Through Staging Options|
|The Directorrsquo;s Responsibility for Working Effectively with Design|
|The Director and the Stage Machine: Symbolization and Synthesis|
|Director's Options: Choice of the Stage|
|Director's Options: Scenery, Properties, and Lighting|
|Director's Options: Costume, Makeup, and Sound|
|Helping Audiences Receive A Play|
|Responsibility to Audiences|
|Major Project 2: Designing and Directing Your Own One-Act Play Production|
|Interpretation: A Matter Of Style|
|Style Is Individual Expression|
|Style in Playwriting and Playwrights|
|The Director's Analysis of Style in a Playscript|
|Table of Contents provided by Publisher. All Rights Reserved.|