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Dedication | |
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. |
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The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.