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The substance of rehearsal time is mainly contingent on the requirements made of actors: to learn lines; to enter into roles; to establish movements and interactions; to create the ‘world of a play’.


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Hall
Video
Peter Hall on Greek theatre and his own mask practice. He discusses his theories of Greek drama, including the use of the Chorus, Phallus, and the nature of tragedy and comedy.
00:54:14
An Interview with William Gaskill
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William Gaskill interviewed by Michael Billington. Gaskill discusses his theatre-going during the war, his experiences at Oxford University, and his work with the Royal Court and National Theatre.
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Meetings poster asset
Video
Katharina Seyferth introduces the forest-based work space of Brzezinka, as she recounts her experience of Grotowski's post-theatrical research known as "Paratheatre" and "Theatre of Sources."
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Contact Improvisation for Actor Training
Video
This video is documentation taken from a weekly contact jam session with the actors in the MFA Actor-Training program at UC Irvine. Contact Improvisation is a large part of the movement arc in the first year of actor training, and jam sessions are held weekly, integrating all three years of MFA actors.  Someone happened to video this session, and I give a brief description of our use of contact as a tool for actor training in the voice-over. 
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Contact Improvisation for Actor Training - Movement with Text
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This video is documentation of an exercise with 3rd year graduate actors at the UC Irvine Actor-Training program, speaking a monologue while contacting with a silent partner. At a moment of heightened activity, the silent partner is removed, and the resulting delivery of the monologue is focused and intensely communicated. The athleticism and sensitivity of the contact created a culture of expressivity. Tenderness as well as rage and challenge emerged in the contact session and remained present in the solo monologue. So, the complexities of emotion that were embodied metaphorically and rhythmically in the extreme lifts and rolls and balances of the partnering could be seen as an emotional “rehearsal” for the solo performance. But once the partner was removed, the speaker had to reach out to us, and address each deeply felt idea to the audience in the room. No longer in a contact with the literal “other,” we, the audience, now become the necessary focus.
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Directions for Directing—Directing Shakespeare at “Hamlet’s Castle”
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Lars Romann Engel, artistic director of “HamletScenen,” in conversation with Dr. Anne Sophie Refskou, lecturer at University of Surrey, describes his process of working on Shakespeare’s Hamlet. He analyzes the process of working with the text and understanding the context of the play and its significance today. The interview took place in Elsinore, Denmark, in August 2017.
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Directions for Directing. Theatre and Method–Working with a Set Designer
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This video workshop, which took place in Athens in July 2017, is the result of a process of working on possible ideas for set design for Henrik Ibsen’s The Lady from the Sea. Athena Stourna shares her intuitions in front of a model she built for the purposes of this book, shedding light on fundamental questions that permeate the director-scenographer collaboration.
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Directions for Directing. Theatre and Method—Fundamentals of Directing
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In this video presentation, Avra discusses her book and some fundamental principles that permeate the directing art.
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Directions for Directing. Theatre and Method—Movement Work for the Actor
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This video is from a workshop which brought together performer Miranda Manasiadis and choreographer Malia Johnston. The workshop took place at Footnote Dance and Deirdre Tarrant Studios.
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Directions for Directing—Theatre and Method - Building Character
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This workshop took place at East Hampton, NY, in October 2016, part of an attempt to address different ways of looking at the character of Blanche du Bois. 
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Garzienice natural environment thumbnail
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This film, shot in the early part of the 1990s by leading Polish film-maker Jacek Petrycki, shows Gardzienice on the road in the Carpathian mountains in the Ukraine, rehearsing and training.
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Konstantin Stanislavski. After My Life in Art, Part 3: The Return
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The third episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
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Konstantin Stanislavski. After My Life in Art, Part 4: The System
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The fourth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
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Life in Art Thumb
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The fifth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
00:50:25
Meyerhold Theatre and the Russian Avant-garde
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Part of an overall documentary series about Russian Theatre in the 1920s, Meyerhold Theatre and the Russian Avant-garde uses archive material to demonstrate acting techniques.
00:09:26
Zarrilli
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Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
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Stanislavsky and The Russian Theatre
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This film explores the main themes which led to the founding of The Moscow Art Theatre and the formation of Stanislavsky’s system of acting.
00:47:04
Houben 1
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The Neutral Mask workshop Houben led for the International Workshop Festival in Edinburgh was the only one of this kind he ever attempted. It was an experiment.
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Bella Merlin’s practical presentation uses Stanislavsky’s Six Fundamental Questions to contextualise a demonstration of ‘practice as research’ riffing off his work, as well as Maria Knebel’s.
Commentary
by Annie Loui
Contact improvisation is a form of dance improvisation based on energy and weight exchange, incorporating elements of aikido, jitterbugging, child’s play, and tumbling
Commentary
by Avra Sidiropoulou
Directions for Directing: Theatre and Method lays out contemporary concepts of directing practice and examines specific techniques of approaching scripts, actors, and the stage. Addressed to both young and experienced directors but also to the broader community of theatre practitioners, scholars, and dedicated theatre goers, the book sheds light on the director’s multiplicity of roles throughout the life of a play — from the moment of its conception to opening night — and explores the director’s processes of inspiration, interpretation, communication, and leadership. From organizing auditions and making casting choices to decoding complex dramaturgical texts and motivating actors, Directions for Directing offers practical advice and features detailed Workbook sections on how to navigate such a fascinating discipline. A companion website explores the work of international practitioners of different backgrounds who operate within various institutions, companies, and budgets, providing readers with a wide range of perspectives and methodologies.


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