CONTENTS<br/><br/>Preface ix<br/><br/>Acknowledgments xi<br/><br/>Introduction 3<br/><br/>1. PREPARATION 9<br/><br/>1. Thinking Like an Artist 11<br/><br/>2. Reading and Researching 17<br/><br/>3. Interpreting the Action 31 <br/>4. External Analysis: Structure 46<br/><br/>II. PRE-PRODUCTION 67<br/><br/>5. Developing the Approach 69<br/><br/>6. The Design Process 81<br/><br/>7. Style 95 <br/><br/>8. Casting 104<br/><br/>III. REHEARSAL<br/><br/>117<br/><br/>9. The Early Rehearsals 119<br/><br/>10. Staging 140<br/><br/>11. The Middle Rehearsals: Problem Solving 151<br/><br/>12. The External Perspective in Rehearsals 173 <br/>13. The Final Stages 184
520 ## - SUMMARY, ETC.
Summary, etc
INTRODUCTION<br/><br/>If professions move in cycles of desirability and glamour, then direct- ing is surely in an ascendant phase. In theater and film, training pro- grams have burgeoned, while writers and actors by the dozens parlay their success into directing. In contrast to the world of conglomerates and multinationals, directing is a means of creative expression, allow- ing a single artist a significant measure of control. Its allure is con- firmed by the ubiquitous memo pad sold in bookshops that bears the epigram"... but what I really want to do is direct."<br/><br/>Yet the nature of a director's work, most notably in the theater, remains surprisingly vague and mysterious. Audiences generally as- sume directors tell actors where and when to move and, perhaps, how to recite certain lines. Critics often think directors are occupied primarily with speed and pace. Even some actors find it difficult to characterize the differences between one director's process and an- other's.