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Play Directing describes the various roles a director plays, from selection and analysis of the play, to working with actors and designers to bring the production to life. The authors emphasize that the role of the director as an artist-leader collaborating with actors and designers who look to the director for partnership in achieving their fullest, most creative expressions. The text emphasizes how the study of directing provides an intensive look at the structure of plays and acting, and of the process of design of scenery, costume, lighting, and sound that together make a produced play.
This highly successful series has been revised and reprinted in new, exciting covers. The five titles work together to create all you need to know about how to present a production. Each expertly written book contains many creative ideas as well as essential information. Copyright © Libri GmbH. All rights reserved.
Terry McCabe, himself an accomplished stage director and teacher of theatre arts, here attacks what he calls the growing decadence that plagues contemporary stage directing. He argues for a radical reorganization of the director’s view of his role. It has become an article of faith in the theatre, Mr. McCabe observes, that a play is about what the director chooses to have it be about. But what right does a director have to treat a play as a found object, to be reshaped to express the director’s concerns? None whatsoever, Mr. McCabe replies. He examines anecdotally a range of work by different directors by way of offering a substantial critique of today’s leading theory of stage directing, and he offers an alternate approach. He challenges the notion that a play is the director’s vehicle for self-expression, arguing that the idea of the director as centerpiece of the theatre tends to distort plays and oppress actors. He explores what it means to direct a play when directing is properly understood as a process of self-effacement. Mis-directing the Play examines the role of the director as collaborator with actors, designers, dramaturges, and playwrights. Throughout, the book’s focus is on shedding the counterproductive myth of the director as creative auteur and urging in its place a return to first principles: the idea of the director as the interpretive artist in charge of putting the playwright’s play onstage.
Play Directing: The Basics introduces theatre students to a step-by-step process for directing plays, including advice on devising. Beginning with a historical overview of directing, this book covers every aspect of the director’s job from first read to closing night. Practical advice on finding plays to produce, analysing scripts, collaborating with the design team, rehearsing with actors, devising company creations, and opening a show are peppered with advice from working professionals and academic directors. A practical workbook, short exercises, helpful websites, and suggested reading encourage readers towards a deeper study of the art of directing. This book empowers high school and early college students interested in theatre and directing to find their own voice, develop a practice, and refine their process.
Play Directing describes the various roles a director plays, from selection and analysis of the play, to working with actors and designers to bring the production to life. The authors emphasize that the role of the director as an artist-leader collaborating with actors and designers who look to the director for partnership in achieving their fullest, most creative expressions. The text emphasizes how the study of directing provides an intensive look at the structure of plays and acting, and of the process of design of scenery, costume, lighting, and sound that together make a produced play.
The pursuit of excellence in theatre is well served by the latest edition of this eminently readable text by two directors with wide-ranging experience. In an engaging, conversational manner, the authors deftly combine a focus on artistic vision with a practical, organized methodology that allows beginning and established directors to bring a creative script interpretation to life for an audience.
Flexible and concise, Stage Directing details the seven steps that make up the directing process: selecting a work, analyzing and researching the playscript, conceiving the production, casting, beginning rehearsals, polishing rehearsals, and giving and receiving criticism. Each step is highlighted with valuable directing tips, as well as examples from modern and contemporary playscripts and productions. Exercises, objectives, and key terms put directing precepts to a practical test, revealing what is significant about each phase of the process. Over eighty charts, graphs, and photographs unite to exemplify the text. With a fresh voice and an engaging writing style, Patterson provides insightful questions, suggestions, and illustrations that define and invoke contemplation about the role of the director. Three original short plays provide the opportunity for hands-on analysis and the application of practical concepts. In a final essay, Patterson highlights the function and growing artistry of the director in the modern and postmodern theatre by concisely examining the history of the director.
First published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
Originally published: New York: Collier Books, 1972.
The revised edition offers an expanded array of materials, organized into cases and shorter 'briefs, ' for use in the study of directing. There are new cases covering issues of censorship, non-traditional casting, theater safety, and ethics among others. The corresponding Instructor's Manual is available free upon request