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Essay / Research Paper Abstract
A 6 page essay that summarizes five chapter and the conclusion from Arden Fingerhut's 1995 text Theatre: Choice in Action. Each chapter addresses a specific topic from play production, such as, the director's role, the actors, the scenic designer, the costume designer and the critic. No additional sources cited.
Page Count:
6 pages (~225 words per page)
File: D0_khardfin.rtf
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Unformatted sample text from the term paper:
chapter to a particular topic in theatre production and then offer a detailed overview of that topic. Chapter 3 focuses on the director. This overview addresses every conceivable aspect of
the directors role, beginning with "What the director does" (73). The directors role is broken down into four major tasks: analyze the script; work with designers on a production
concept; work with the actors in rehearsal and stage the performance (75). Having laid out a general outline for the directors job, Fingerhut then looks at these tasks in meticulous
detail, by discussing what the director looks for in reading a play and then how the director addresses the needs of the play. Throughout these discussions, the author offers example
that illustrate points, such as how directorial choices contribute to the meaning of the production (80). Fingerhut next discusses how a director works. As this brief summation illustrates, the topic
of the directors role is comprehensively covered. Throughout this discussion, the author adds insightful information that helps the reader appreciate this topic within a contemporary context. This chapter offers the
reader comprehensive knowledge, insight and appreciation for the directors role. Chapter 4: The Actor As with "The Director," Fingerhut begins with a comprehensive overview of what the actor
does. The author then addresses other subheadings that were also covered in chapter 3, such as what an actor looks for in reading a play and the actors role in
fulfilling the needs of a play. However, in this chapter, these topics are addressed from the actors perspective. Interestingly, the author uses the same plays as were offered in chapter
3 as examples. In so doing, Fingerhut underscores the differences between the directors and the actors perspectives. Fingerhut continues to follow this pattern and next addresses how acting contributes
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