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Directors aim to find a dramaturgical and rhythmical shape to their work to cultivate focussed performers and a sense of shared purpose among the company, and to build a staging consistent with this.


00:26:49
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.
00:34:35
Hall_Assetthumb
Video
Peter Hall discusses the West End theatre of the 1950s, antipathy towards the RSC coming to London to perform, and the staging of the first English production of Waiting for Godot and its aftermath.
00:54:14
An Interview with William Gaskill
Video
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.
00:50:09
Smelianski Interview - Asset Image Thumbnail
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In which Prof. Smeliansky outlines the importance of Stanislavsky’s work in the history of Russian theatre, including Stanislavsky’s relation to Chekhov, Gordon Craig, Meyerhold and others.
00:13:56
Andrei Droznin Physical Actor Training
Video
This film covers basic acrobatics.
00:13:04
Andrei Droznin Physical Actor Training
Video
This film covers basic acrobatics using furniture and objects.
00:20:50
Andrei Droznin Physical Actor Training
Video
This film covers an interview with Andrei Droznin.
00:13:54
Andrei Droznin Physical Actor Training
Video
This film covers locomotion techniques.
00:24:09
Andrei Droznin Physical Actor Training
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This film covers partner work.
00:25:18
Andrei Droznin Physical Actor Training
Video
This film covers preparation and stretches for physical activity.
00:35:21
Odin - Ascent... - thumbnail
Video
A film following the street performance Anabasis in Peru. It was an itinerant performance, based on exploiting the connections between the actors and the spectators who they encounter on their way.
00:55:27
Pearson 1
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Pearson takes a group of practitioners through the many exercises that formed the central concerns of Brith Gof. These include physical training, spatial and temporal awareness and group choreography.
00:01:03
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. 
00:04:02
Contact Improvisation for Actor Training - Movement with Text
Video
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.
00:35:42
Directions for Directing—Directing Shakespeare at “Hamlet’s Castle”
Video
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.
00:29:17
Directions for Directing—Theatre and Method – Adapting the Classics
Video
This video features snapshots from two different directing workshops conducted in October 2017 with two groups of directing students at RESAD (Real Escuela Superior de Arte Dramático de Madrid) in Madrid, Spain. The workshops focused on strategies of recontextualization of classical works and of determining directorial point-of-view.  
00:09:29
Directions for Directing. Theatre and Method—Can Directing be Taught?
Video
Vanessa Christodoulou talks about her experience of being taught directing in a distance-learning context. She shares audiovisual material taken from her directing work, which was produced especially for class projects.
00:14:50
Directions for Directing. Theatre and Method–Working with a Set Designer
Video
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.
00:23:16
Directions for Directing. Theatre and Method—Fundamentals of Directing
Video
In this video presentation, Avra discusses her book and some fundamental principles that permeate the directing art.
00:19:04
Directions for Directing. Theatre and Method—Movement Work for the Actor
Video
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.
00:34:41
Directions for Directing. Theatre and Method—The Work of Elevator Repair Service
Video
John Collins, award-winning artistic director of ERS, shares his ideas on directing, working with an ensemble, adapting the classics, and developing a directorial style. 
00:17:02
Directions for Directing. Theatre and Method—Working with a Lighting Designer
Video
In this master class video, New York-based lighting designerMaria Cristina Fusté discusses in detail her process of lighting a theatre production, and the different stages involved therein. 
00:19:04
Glenda Dickerson
Video
Since 1981, I have been conducting research on black women behind the scenes in the American theatre. As a black female lighting designer, I am aware of our invisibility within the larger American theatre and have made an effort to expose these women to a wider audience. I have interviewed numerous black women who have made significant contributions to the American theatre. These women include designers, producers, directors, playwrights, artistic directors, and other individuals working behind the scenes. This is a rare interview I conducted with Glenda Dickerson (1945-2012) during a rehearsal of her adaptation of The Trojan Women, performed with an all-black cast during January 1983. This interview is very dear to me as Dickerson was a mentor. I followed her career with various interviews, tapings at conferences, and the publication of one of her plays. Glenda Dickerson was a director, folklorist, actress, adapter/conceiver, and educator. With a career of nearly 40 years she was known for her unique adaptations of Greek classics, African American folktales, the feminist theatre approach, and ensemble work. She was the second black woman to direct on Broadway with the 1980 musical Reggae. Her work has also been presented nationally and internationally. In the commercial arena she was constantly presented with racial and gender challenges. After working in mainstream theatre for many years, Dickerson chose to focus her talents on educational and community-oriented theatre. She also began to concentrate on feminist/womanist theatre. She taught at Howard University, Spelman, Rutgers, and the University of Michigan. Only in recent years is her work finally gaining recognition, but as with many other black women, Dickerson’s contributions are largely unknown.
00:43:33
Zinder 3 asset
Video
A workshop concentrating on the structured approach that is the basis of ImageWork training, leading the participants from simple forms of improvised physical expression to complex forms.
00:20:26
Appendix - Zarrilli - Image Asset Thumbnail
Video
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.
00:23:37
Benedetti Interview - Asset Image Thumbnail
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This interview sees Jean Benedetti discussing some of the main precepts of Stanislavsky’s work, including Stanislavsky’s relation to Chekhov, Shchepkin, Meyerhold and others.
00:26:11
Konstantin Stanislavski. After My Life in Art, Part 3: The Return
Video
The third episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
00:26:08
Konstantin Stanislavski. After My Life in Art, Part 4: The System
Video
The fourth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
00:26:14
Life in Art Thumb
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The fifth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
00:43:32
Lisa Mayo: Between the Layers
Video
Lisa Mayo: Between the Layers is an interview reflecting on the training, accomplishments, experiences, and the life of Lisa Mayo.
00:26:12
Chekhov 3
Video
A film about Michael Chekhov. Part one covers his early years, family, upbringing, drama school and the beginning of his acting career at the Moscow Art Theatre.
01:19:28
Odin Teatret - Moon and Darkness - Asset Thumbnail Image
Video
In this demonstration-performance, Odin Teatret’s Iben Nagel Rasmussen shows and explains her working practice, from her training methods through to performance.
01:32:16
Smeliansky lecture asset thmb
Video
The Stanislavski Centre Annual Lecture sees a major international figure lecturing based upon their own expertise in the field of Stanislavsky studies every year – in this case, Anatoly Smeliansky.
01:06:47
Odin Teatret - The Dead Brother - Asset Thumbnail Image
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An explanation of how performances are created at Odin Teatret. It describes the stages in the work, presenting the different phases of the process in which text, actor and director interact.
01:08:35
Odin Teatret - The Echo of Silence - Asset Thumbnail Image
Video
A performance that describes the vicissitudes of the voice of an actor and the stratagems she invents to ‘interpret’ a text. In theatre, actors need to create a labyrinth of rules to follow or refuse.
01:23:47
Odin Teatret - The Whispering Winds - Asset Thumbnail Image
Video
A performance-demonstration about the difference between theatre and dance. European culture suffers from the division between theatre and dance. They are, in fact, a single world.
01:32:22
Merlin asset thumbnail
Video
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.
00:01:48
Mike Alfreds
Audio
An interview lasting almost two hours, covering the extraordinary breadth of Mike Alfreds’s experience as a theatre director working across different decades, cultures and continents.
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.
Practitioner
Mike Alfreds is a director who has run companies in the US, Israel and the UK – including Shared Experience, which he founded in 1975 – and worked at theatres including the National and the RSC.
Practitioner
William Gaskill studied alongside Tony Richardson and Kenneth Tynan. Influenced by Paris and Berlin, he developed a spartan aesthetic, directing influential work at the Royal Court and the National.


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