| CONTENTS | |
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| PART I: GETTING ACQUAINTED WITH THEATRE | |
| Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | xiii |
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| CHAPTER 1: Why Study Theatre? . . . . . . . . . . . . . . . . . . | 3 |
| Definition of Theatre . . . . . . . . . . . . . . . . . . . . . . | 3 |
| How Theatre Differs from Other Art Forms . . . . . . . . . . . . . | 6 |
| Reasons for Studying Theatre . . . . . . . . . . . . . . . . . . . | 7 |
| Theatre in Everyday Life . . . . . . . . . . . . . . . . . . . . . | 10 |
| Opportunities for Theatre . . . . . . . . . . . . . . . . . . . . | 13 |
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| CHAPTER 2: What Is Theatre? . . . . . . . . . . . . . . . . . . . | 15 |
| Theatrical Conventions . . . . . . . . . . . . . . . . . . . . . . | 15 |
| Genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 20 |
| Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 22 |
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| CHAPTER 3: Theatres and Stages . . . . . . . . . . . . . . . . . . | 30 |
| Theatre Structures . . . . . . . . . . . . . . . . . . . . . . . . | 30 |
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| CHAPTER 4: Writing a Play . . . . . . . . . . . . . . . . . . . . | 42 |
| Building Characters . . . . . . . . . . . . . . . . . . . . . . . | 42 |
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| PART II: DIRECTING | |
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| CHAPTER 5: What Is a Director? . . . . . . . . . . . . . . . . . . | 55 |
| Audience Analysis . . . . . . . . . . . . . . . . . . . . . . . . | 55 |
| Choosing the Script . . . . . . . . . . . . . . . . . . . . . . . | 56 |
| Working with the Other Artists . . . . . . . . . . . . . . . . . . | 68 |
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| CHAPTER 6: Interpreting a Script . . . . . . . . . . . . . . . . . | 70 |
| Interpreting the Play . . . . . . . . . . . . . . . . . . . . . . | 70 |
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| CHAPTER 7: Casting and Rehearsing . . . . . . . . . . . . . . . . | 102 |
| Casting the Play . . . . . . . . . . . . . . . . . . . . . . . . . | 102 |
| Rehearsing the Play . . . . . . . . . . . . . . . . . . . . . . . | 104 |
| Directing in Arena Theatre . . . . . . . . . . . . . . . . . . . . | 112 |
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| PART III: DESIGN | |
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| CHAPTER 8: Scenery and Lighting . . . . . . . . . . . . . . . . . | 117 |
| The Scene Designer . . . . . . . . . . . . . . . . . . . . . . . . | 117 |
| The Lighting Designer . . . . . . . . . . . . . . . . . . . . . . | 127 |
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| CHAPTER 9: Costumes and Make-Up . . . . . . . . . . . . . . . . . | 134 |
| The Costume Designer . . . . . . . . . . . . . . . . . . . . . . . | 134 |
| The Make-Up Designer . . . . . . . . . . . . . . . . . . . . . . . | 137 |
| The Audio Designer . . . . . . . . . . . . . . . . . . . . . . . . | 143 |
| The Property Master . . . . . . . . . . . . . . . . . . . . . . . | 143 |
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| PART IV: ACTING | |
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| CHAPTER 10: Freeing Your Imagination . . . . . . . . . . . . . . . | 149 |
| Learning to Use Your Imagination . . . . . . . . . . . . . . . . . | 149 |
| Using Both Logic and Creativity . . . . . . . . . . . . . . . . . | 150 |
| Recognizing First Responses . . . . . . . . . . . . . . . . . . . | 151 |
| Creativity and Playfulness . . . . . . . . . . . . . . . . . . . . | 153 |
| Using Emotional Memory . . . . . . . . . . . . . . . . . . . . . . | 154 |
| Being Sensitive to Self and Others . . . . . . . . . . . . . . . . | 155 |
| Learning to be Flexible . . . . . . . . . . . . . . . . . . . . . | 157 |
| Stimulating Creativity in Acting . . . . . . . . . . . . . . . . . | 158 |
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| CHAPTER 11: Improvisation . . . . . . . . . . . . . . . . . . . . | 162 |
| Improvising with Existing Characters . . . . . . . . . . . . . . . | 162 |
| Creating New Characters . . . . . . . . . . . . . . . . . . . . . | 166 |
| Fulfilling Intentions . . . . . . . . . . . . . . . . . . . . . . | 167 |
| Learning to Listen . . . . . . . . . . . . . . . . . . . . . . . . | 170 |
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| CHAPTER 12: Using Your Body . . . . . . . . . . . . . . . . . . . | 172 |
| How Creative Concentration Helps . . . . . . . . . . . . . . . . . | 173 |
| Body Language . . . . . . . . . . . . . . . . . . . . . . . . . . | 174 |
| Communicating as Character and as Self . . . . . . . . . . . . . . | 176 |
| Gestures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 177 |
| Carriage and Posture . . . . . . . . . . . . . . . . . . . . . . . | 182 |
| Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 182 |
| Filling Space . . . . . . . . . . . . . . . . . . . . . . . . . . | 183 |
| Using Space . . . . . . . . . . . . . . . . . . . . . . . . . . . | 185 |
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| CHAPTER 13: Using Your Voice . . . . . . . . . . . . . . . . . . . | 187 |
| Voice Production . . . . . . . . . . . . . . . . . . . . . . . . . | 187 |
| Articulation . . . . . . . . . . . . . . . . . . . . . . . . . . . | 189 |
| Voice Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . | 190 |
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| CHAPTER 14: Analyzing Your Character . . . . . . . . . . . . . . . | 197 |
| Beginning the Interpretation . . . . . . . . . . . . . . . . . . . | 197 |
| Learning to Know Your Character . . . . . . . . . . . . . . . . . | 199 |
| Motivations . . . . . . . . . . . . . . . . . . . . . . . . . . . | 202 |
| Determining the Dominant Traits . . . . . . . . . . . . . . . . . | 203 |
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| PART V: A HISTORY OF THE THEATRE | |
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| CHAPTER 15: A History of the Theatre . . . . . . . . . . . . . . . | 217 |
| Ancient Greek Theatre . . . . . . . . . . . . . . . . . . . . . . | 217 |
| Roman Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . | 220 |
| Medieval Theatre . . . . . . . . . . . . . . . . . . . . . . . . . | 221 |
| Renaissance Theatre . . . . . . . . . . . . . . . . . . . . . . . | 223 |
| 17th and 18th Century Theatre . . . . . . . . . . . . . . . . . . | 228 |
| 19th and 20th Century Theatre . . . . . . . . . . . . . . . . . . | 232 |
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| About the Author . . . . . . . . . . . . . . . . . . . . . . . . . | 237 |