Changing Direction: A Practical Approach to Directing Actors by Lenore DeKoven

By Lenore DeKoven

The process awarded during this e-book, honed after years of on-set event and from educating at UCLA, NYU, and Columbia, and counseled by way of many within the undefined, together with director Ang Lee (Brokeback Mountain and Crouching Tiger, Hidden Dragon) and producer/actor Edward Asner, goals to supply a beneficial reference and source for administrators and actors alike. It combines underlying idea with dozens of workouts designed to bare the actor's craft. there's fabric on developing the throughline, reading the script, personality wishes; the casting and practice session strategies, movie vs. theater strategies in addition to the actor and the digicam.

Distilling tough innovations and a posh job to their easiest shape, the writer explains tips to effectively catch and painting human habit. The author's dialogue of inventive difficulties she has encountered or expected after years of expertise, and her prompt options and routines, are instantly worthwhile. also, pay attention what the actors need to say in excerpts from interviews with acclaimed actors akin to Meryl Streep, Denzel Washington, Glenn shut, Robert Redford, Christopher Walken, Julianne Moore, and Michael Douglas (to identify a number of) who speak about their paintings with administrators, what evokes them, and what they truly wish from the director.

* a well known director and trainer stocks her secrets and techniques on getting nice performances from actors
* arms on; loaded with exercises
* correct to movie, television, and theater directors
* Foreword written by way of Ang Lee, Oscar-winning director of Brokeback Mountain and a scholar of DeKoven's

Show description

Read Online or Download Changing Direction: A Practical Approach to Directing Actors in Film and Theatre PDF

Best theatre books

Banned Plays: Censorship Histories of 125 Stage Dramas (Facts on File Library of World Literature)

As public tastes swap, so does the character of well known drama. within the 5th century BCE, Aristophanes' "Lysistrata" attracted censors for its topics of wifely uprising and intercourse. From the fifteenth to the 18th centuries, performs have been censored essentially for non secular or political purposes. within the nineteenth century, social and sexual purposes for censorship emerged, and sleek moralists have objected to works via such playwrights as Arthur Miller, Eugene O'Neill, and Lillian Hellman.

Four Plays By Eugene O'Neill (Beyond the Horizon; The Emperor Jones; Anna Christie; The Hairy Ape)

Winner of 4 Pulitzer Prizes and the 1st American dramatist to obtain a Nobel Prize, Eugene O'Neill crammed his performs with wealthy characterization and cutting edge language, taking the outcasts and renegades of society and depicting their Olympian struggles with themselves-and with future.

Contents:

Beyond the Horizon
The Emperor Jones
Anna Christie
The furry Ape

German Expressionist Theatre: The Actor and the Stage

German Expressionist Theatre considers the powerfully stylized, antirealistic types of symbolic performing on the German Expressionist degree from 1916 to 1921. It relates this extraordinary departure from the dominant eu appearing culture of realism to the explicit cultural crises that enveloped the German kingdom in the course of the process its involvement in international struggle I.

A Retake Please!: Night Mail to Western Approaches

This memoir is an strange contribution to the heritage of movie and cinema. At its centre is the tale of the making of the British movie vintage Western methods, the 1st tale documentary in Technicolor, completely enacted via amateurs. It was once nominated for the simplest movie from any resource Oscar.

Additional resources for Changing Direction: A Practical Approach to Directing Actors in Film and Theatre

Sample text

How do we know if what he says is the truth or simply a scenario? And I urge them to recall his movement, his body language. Who did he look at most of The Actors’ Vocabulary 27 the time and when did he change his gaze? When did he seem comfortable and when at odds with what he was telling us? I remind them that he did volunteer, which is a clue to the character, that he did obey me when I insisted he continue. How did he present himself? Was he soft-spoken? Timid? Aggressive? Confrontational? What did he do?

To be funny is a passive statement. To be—is already. ” So how would we recreate that moment when John seemed to be trying to be funny? I would express it as amuse us. That is another actor’s action verb: to amuse. Now let us find more action verbs that might lead us to the John character’s scene and life needs. Together we attempt to identify the moment-to-moment actions: First, he volunteered. 32 Changing Direction Yes, to volunteer is a verb but is it an actor’s verb? Is it doable without dialogue?

Actor 2: action to reject. ” Actor 1: action to welcome. ” Actor 2: action to reject. ” Alternatively, actions and needs can be switched with actors keeping the same dialogue. Actor 1: action to reject. ” Actor 2: action to welcome. ” Actor 1: action to reject. ” In this last switch the group can observe the difference in how each actor might respond to the same action words. In any case, each combination will produce a different scene as perceived by the class or audience. It becomes increasingly clear that an audience receives and processes what it sees much more immediately and specifically than what it hears.

Download PDF sample

Rated 4.19 of 5 – based on 43 votes