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Essay / Research Paper Abstract
A 15 page research paper that examines some of the technical aspects of stagecraft. This examination of the director's art looks specifically at the physical requirements of staging, that is, the dynamics of directing the actors where to be onstage. The writer also addresses some of the problems specific to high school productions and requirements of dealing with inexperienced actors. Bibliography lists 6 sources.
Page Count:
15 pages (~225 words per page)
File: D0_khdirbl.rtf
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Unformatted sample text from the term paper:
is working, most probably, with a totally inexperienced cast and crew. However, while a good director can make "untrained actors look good" and untrained director can also make "good actors
look bad" (Rodgers and Rodgers 4). It is the directors job to be an amalgam, to "synthesize ideas, inspiration, and intuitions into meaning and form" (Rodgers and Rodgers 4). It
is a complicated role that encompasses many areas of stagecraft. This examination of the directors art looks specifically at the physical requirements of staging, that is, the dynamics of
directing the actors where to be onstage. The director of a stage play has two mediums for expressing the intentions of the playwright -- the actors and the stage.
The Actors There are five principal designations for the actors body position onstage relative to the audience. 1. Full front position to the audience is very strong. 2. One-quarter
turned-away position is till strong, but less so than the full front. 3. The profile, or one-half turned, position is less strong. 4. The three-quarter turned away position is
weak -- the only really weak position. 5. The full-back position is as strong as profile, but, other things being equal, not so strong as a one-quarter turn (Dean and
Carra 104). The rationale behind these evaluations is based on the idea that the different positions enhance or weaken the emotional contact with the audience. The Stage
The stage is divided into three specific areas by two equidistant imaginary lines running from downstage to upstage and perpendicular to the footlights (Dean and Carra 104). These
parts are referred to as right, center and left and refer to the right and left of the actors, not that of the audience or the director. The center and
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