By Anne Bogart
From famous auteur of the yank theatre scene, Anne Bogart, And Then, You Act is an engaging and available e-book approximately directing theatre, appearing and the collaborative artistic process.
Writing sincerely and passionately, Bogart speaks to a large viewers, from undergraduates to practitioners, and makes a useful contribution to the sphere tackling issues such as:
- why theatre matters.
Following on from her winning publication A Director Prepares, which has develop into a key textual content for instructing directing sessions, And Then, You Act is a vital practitioner and pupil resource.
Read Online or Download And Then, You Act: Making Art in an Unpredictable World PDF
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Additional resources for And Then, You Act: Making Art in an Unpredictable World
The pointing is the point. ” Already in 22 articulation ■ her late thirties by the time she began her work with Miss Hamilton, Mary was not at all interested in a career in ballet. The study nonetheless informed Mary’s postmodern sensibilities. The aging Miss Hamilton ended her days ill and fading from life in a hospital, but she insisted that Mary visit her regularly to continue the instruction. In the hospital room, Miss Hamilton watched Mary dance and corrected her verbally. When she could speak no more, could only blink her eyes and move her fingers, Miss Hamilton still insisted that Mary dance.
The basic, underlying intention, as Stella Adler suggests, is that we try. In the trying, we attempt a miracle. I’ve been thinking about the value of trying, attempting, and tempting. ” What are we doing? What are we tempting? ■ intention 35 To tempt can imply a risk before possible destructive powers. It means to invite or attract. Tempting embodies risk and daring. A risk is a leap in the dark, a jump off a high diving board and a necessary ingredient in every artistic endeavor. With no risk or leap, the available energy deflates rather than multiplies.
The other trigger is humanistic, encouraging disparate responses, opening people up. Personally, I find it more interesting to trigger associations in the audience than psychologies. The way to do this is to set up oppositions rather than answers. For example, if one person nods “yes,” while another person is shaking the head “no,” you have set up an opposition. And in the space of this opposition there is room for the audience to dream. I am after diverse responses. I want individuality in the audience rather than conformity.