Kagagami He believed that all the elements of a play—text, acting, lighting, scenery and direction—needed to work together to convey a unified message. There was a problem adding your email address. It uses personal anecdote and also a balanced perspective to convey points. Michael rated it really liked it Sep 12, But the main reason why this book is not getting a higher rating is that it is most useful to the director planning on a professional production, and those directors should have had experience and training equal to reading this book by the time they would pick it up. Harold Clurman, director of such memorable productions as A Member of the Wedding and Uncle Vanyadescribes the pleasures and perils of working with such celebrated playwrights and actors as Marlon Brando, Arthur Miller, Julie Harris, and Lillian Hellman.
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My first experience as an actor was when I was in church. This was much later followed by a Middle School version of "The Hobbit" and then, in High School, I tried to act in at least two plays a year. College also found me acting many times.
I have some experience on "both sides of the stage" so to speak, and, in preparation for my solo directorial debut, wanted a little extra background on directing. My answer is yes, to a degree. Is this a useful book for intermediate or advanced directors that is, those who have directed before and wish to refine their techniques? My answer is again yes, to a degree. And what degree is that? The underlying assumption of this book is that you are a director for a professional theater production.
So, as I am directing a high school play, much of this book is impossible to employ. For the intermediate and advanced directors, they too have certain ideas on how a production should look and work. They may be constrained by factors not present in the productions that Clurman discusses. That section also works great as examples of what Clurman means when discussing his pre-production work.
Hell, how many people recognize the names of the playwrights he has directed plays of anymore? But the main reason why this book is not getting a higher rating is that it is most useful to the director planning on a professional production, and those directors should have had experience and training equal to reading this book by the time they would pick it up.
I only have 5 - 8 weeks for rehearsal and at most 5 hours per week for those rehearsals. Clurman has full day rehearsals. Looking forward to digging into some of the play analyses in conjunction with the play itself.