As European theatre directors become a familiar presence on international stages and a new generation of theatre makers absorbs their impulses, this study develops fresh perspectives on Regie, the Continental European tradition of staging playtexts. Leaving behind unhelpful clichés that pit, above all, the director against the playwright, Peter M. Boenisch stages playful encounters between Continental theatre and Continental philosophy. The contemporary Regie work of Thomas Ostermeier, Frank Castorf, Ivo van Hove, Guy Cassiers, tg STAN, and others, here meets the works of Friedrich Schiller and Leopold Jessner, Hegelian speculative dialectics, and the critical philosophy of Jacques Rancière and Slavoj Žižek in order to explore the thinking of Regie – how to think Regie, and how Regie thinks. This partial and ‘sideways look’ invites a wider reconsideration of the potential of ‘playing’ theatre today, of its aesthetic possibilities, and its political stakes in the global neoliberal economy of the twenty-first century.

"William Ball, founder and general director of the acclaimed American Conservatory Theatre, engages his audience in a wide-ranging discussion of the director's process - from first reading through opening night. Mr. Ball offers a candid, personal account of his method of working - including the choice of a play's essential elements, preproduction homework, casting, and rehearsal techniques"--Cover.

This book contains 60 open, circumstance-free scenes that promote growth in craft by forcing you to create context by determining character, relationship and action.

Unique among directing books, Film Directing Fundamentals provides a clear-cut methodology for translating a script to the screen. Using the script as a blueprint, Proferes leads the reader through specific techniques to analyze and translate its components into a visual story. A sample screenplay is included that explicates the techniques. The book assumes no knowledge and thus introduces basic concepts and terminology.

Film Directing Fundamentals gives the novice director an organic methodology for realizing on-screen the full dramatic possibility of a screenplay. Unique among directing books, Nicholas Proferes provides clear-cut ways to translate a script to the screen. Using the script as a blueprint, the reader is led through specific techniques to analyze and translate its components into a visual story. A sample screenplay is included that explicates the techniques discussed. Written for both students and entry-level professionals, the book assumes no knowledge and introduces basic concepts and terminology. Appropriate for screenwriters, aspiring directors and filmmakers, Film Directing Fundamentals helps filmmakers bring their story to life on screen. This fourth edition is updated with a new foreword by Student Academy Award-winner Jimmy Keyrouz, who studied with author Nicholas Proferes, as well as an enhanced companion website by Laura J. Medina, available at www.routledge.com/cw/proferes, which features new supplemental material for both instructors and students, including two new analyses of contemporary films—Wendy and Lucy (2008) and Moonlight (2016)—study questions, suggested assignments and exercises, as well as the instructor’s manual written by Proferes in 2008.

Regie, the Continental European tradition of staging playtexts, in particular from the canonical dramatic repertoire, provokes as much heartfelt rejection as passionate fascination. This book leaves behind unhelpful clichés that pit, above all, the director against the playwright, or the playtext against its performance. Instead, it stages a meeting between Continental theatre and Continental philosophy in order to explore the thinking of Regie - how to think Regie, but also how Regie thinks. Taking prompts from historical as well as recent manifestations of Regie in German, Dutch and Flemish theatre, the two main parts of this study develop new perspectives on the distinct cultural history of Continental Regie and its aesthetic politics (Part I), and on topics and ideas appearing in contemporary Regie, such as 'truth', 'play', 'realism', and the roles of spectating, of media and critique (Part II). The contemporary Regie work of Thomas Ostermeier, Frank Castorf, Ivo van Hove, Guy Cassiers, tg STAN, Andreas Kriegenburg, Michael Thalheimer and Jürgen Gosch here meets the theatral play in the works of Friedrich Schiller and Leopold Jessner, in Hegelian speculative dialectics, in the ideas of the German school of 'theatrality studies' and the critical philosophy of Jacques Rancière and Slavoj %Zi%zek. Through this partial and playful 'sideways look' on Regie, the study invites theatre students, researchers, critics, artists and spectators alike to reconsider the wider potential of theatre today, its aesthetic possibilities, and not least the political stakes of 'playing' theatre in the global neoliberal cultural economy of the twenty-first century.

This second edition takes the reader further into the heart of using drama for healing. Dr. Emunah offers an expanded understanding of her Integrative Five Phase model, a foundational approach that embraces the wide spectrum of possibilities within the playing field of drama therapy. Grounded by compassionate clinical examples, including ones that reach over time into deep-seated issues, the book offers tools for action-oriented treatment, embodied therapeutic interventions, and creatively engaging a wide variety of clients. This comprehensive text also contains over 120 techniques, categorized by phases in the session and treatment series, and subcategorized by therapeutic objective. Process-oriented drama therapy with group and individuals, as well as performance-oriented forms, are described in vivid detail. New to the second edition is an exploration of drama therapy outside of the clinical arena, including dramatic methods in family life and parenting, and drama therapy geared toward social change.

Based on the author’s decades of teaching, pedagogical and theatrical research, and his professional experience as actor and director, Making a Scene: Creating a Scene Study Class for Actors offers a pedagogical approach to rehearsal scenes as a primary tool for diagnosis and actor improvement. This volume carefully lays out the case for thinking deeply and critically about the nature of every facet of an acting class: the environment of the classroom, the choice of material for performing, diagnostic tools for responding to scene sessions, and means for engaging all students. This study includes suggestions for a teacher’s philosophy towards the work; a justification for implementing games, improvisations, and etudes; suggestions for resources for exercises both basic and complex; and a brief discussion on approaches to period styles material and connecting it to contemporary student life and issues. Addressed to both the beginning theatre teacher and the seasoned educator, this will be an essential book for anyone seeking to update their work with performers in private studios, high school settings, or in higher education.

A renowned Soviet director discusses his theory of film as an artistic medium which must appeal to all senses and applies it to an analysis of sequences from his major movies.