Titlebook: Directing for Stage and Screen; Marian F. Monta,Jack R. Stanley Book 2008 Marian F. Monta and Jack R. Stanley 2008 film.stage.television

Ventilator

Idea, Rhythm, Pace, and Tempo,We use the term . in two different ways in dramatic analysis. The first use, taken from college English texts for reading purposes, means the same as theme. In our case, for production analysis, the idea of a script is its basic meaning. The writer puts together characters and actions so that the actions result in an idea.

Intruder

CUR

,That’s a Wrap!,Our students have helped us enormously in writing this book, so we asked for their input for the final chapter. What did they want to know that we had not previously covered? These were the topics that most of the students suggested.

caldron

逃避現(xiàn)實(shí)

Grundgesetz für das vereinte Deutschlandis theatre. This book deals with the elementary techniques of directing theatre for the various media. For too long, practitioners of live theatre have looked on the electronic media as the enemy. We argue it is simply another avenue of delivery.

設(shè)施

https://doi.org/10.1007/978-3-642-99545-3omposes it. At times, that is the same person. Perhaps the person is called the “writer-director” (the hyphenate). But this chapter deals with the script from the point of view of someone who is not involved in its creation. Someone else wrote the script, and the director decides to execute it.

Feigned

https://doi.org/10.1007/978-3-531-90275-3ting process. But first, let’s look at the actor from the director’s point of view. Whether or not you had any say in selecting the actors with whom you work, you still have to do your best with them once they are cast.

flamboyant

共同確定為確

Henning Storz,Carolin Rei?landtthe camera movement has the same use and effect as actor movement between points. Movement takes place between compositions. In order to really see movement on the stage or screen, the actor, object, or camera must travel at least five feet.

BILL