Thinking Like A Director A Practical Handbook

By: Bloom Michael Publication details: New York; Farrar, Straus and Giroux; 2001. Description: 239 pg.; 21 X 14 cmISBN: 9780571199945Subject(s): Director Michael BloomDDC classification: 792.0233

Contents:

CONTENTS Preface ix Acknowledgments xi Introduction 3 1. PREPARATION 9 1. Thinking Like an Artist 11 2. Reading and Researching 17 3. Interpreting the Action 31 4. External Analysis: Structure 46 II. PRE-PRODUCTION 67 5. Developing the Approach 69 6. The Design Process 81 7. Style 95 8. Casting 104 III. REHEARSAL 117 9. The Early Rehearsals 119 10. Staging 140 11. The Middle Rehearsals: Problem Solving 151 12. The External Perspective in Rehearsals 173 13. The Final Stages 184

Summary: INTRODUCTION 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." 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.

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Holdings
Item type	Home library	Call number	Materials specified	Status	Date due	Barcode
Books	Kala Academy Goas College of Theatre Arts	792.0233 BLO/THI (Browse shelf(Opens below))		Not For Loan		KAG-1108
Books	Kala Academy Goas College of Theatre Arts	792.0233 BLO/THI (Browse shelf(Opens below))		Not For Loan		KAG-1109

CONTENTS

Preface ix

Acknowledgments xi

Introduction 3

1. PREPARATION 9

1. Thinking Like an Artist 11

2. Reading and Researching 17

3. Interpreting the Action 31
4. External Analysis: Structure 46

II. PRE-PRODUCTION 67

5. Developing the Approach 69

6. The Design Process 81

7. Style 95

8. Casting 104

III. REHEARSAL

117

9. The Early Rehearsals 119

10. Staging 140

11. The Middle Rehearsals: Problem Solving 151

12. The External Perspective in Rehearsals 173
13. The Final Stages 184

INTRODUCTION

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."

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.

English

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