April 7 Thea 100

April 7 Thea 100 - THEATRICAL DIRECTION and...

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THEATRICAL DIRECTION and CONCEPTUALIZATION The Director: The Invisible (Really???) Presence Director speaks through the actors, playwright, etc, designers The Director: The artist whose vision / interpretation unifies the productions and all its elements. Richard Wagner, GESAMKUNSTWERK (pg. 219) Identified it as a unified work of theatre The guy who said we should pull it all together When you read Camp Comedy , how did you IMAGINE THE PRODUCTION in your mind? How did it look? How did it sound? Where in the play did you get those ideas? Directorial Concept: The actual idea/image or a group of ideas/images that “drives” a production Though it is the director’s job to articulate it (the concept), it originates with the playwright All production elements reveal and support that concept As a director Dr. Kaplan in the Game of Love and Chance she made it as close to the 18 th century as possible, she controlled the play The best concepts, whether traditions or revolutionary, are true to the playwright’s intent Traditional: Presentation of a play in a historically accurate manner and/or as the playwright intended (See Lloyd Richards (pp. 222-223) Revolutionary “ High Concept Directing” (224-6) Presentation of a play in a manner in which the playwright could not have possibly conceived it. High Concept Directors: Ariane Mnouchkine, 227/ Suzuki Tadashi, 231 A ridiculous and directorially irresponsible example: A Raisin in the Sun on a rocket ship if you are a director you have a certain responsibility to the playwright and to the work ALL conceptualization should be done responsibly
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This note was uploaded on 04/13/2009 for the course THEA 100 taught by Professor Munnell during the Spring '08 term at SUNY Geneseo.

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April 7 Thea 100 - THEATRICAL DIRECTION and...

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