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Inside the Rehearsal Room: Process, Collaboration and Decision-Making [Minkštas viršelis]

5.00/5 (1 ratings by Goodreads)
(Staffordshire University, UK)
  • Formatas: Paperback / softback, 256 pages, aukštis x plotis x storis: 232x156x28 mm, weight: 420 g
  • Išleidimo metai: 27-Jan-2022
  • Leidėjas: Methuen Drama
  • ISBN-10: 1350103667
  • ISBN-13: 9781350103665
Kitos knygos pagal šią temą:
Inside the Rehearsal Room: Process, Collaboration and Decision-MakingDidesnis paveikslėlis
  • Formatas: Paperback / softback, 256 pages, aukštis x plotis x storis: 232x156x28 mm, weight: 420 g
  • Išleidimo metai: 27-Jan-2022
  • Leidėjas: Methuen Drama
  • ISBN-10: 1350103667
  • ISBN-13: 9781350103665
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781350103665.html
Raktažodžiai:
"With an exclusive focus on text-based theatre-making, Inside the Rehearsal Room is both an instructional and conceptual examination of the rehearsal process. Drawing on professional practice and underpinned by theory, this book moves through each stage of rehearsals, considering the inter-connectivity between the actor, director, designers and the backstage team, and how the cumulative effect of the weeks in rehearsal influences the final production. The text also includes: - Auto-ethnographic and fullyethno-graphic case study approaches to different rehearsal rooms - Interviews with directors, actors, designers and actor trainers - A consideration of the ethics of the rehearsal room and material selected for production - Practical exercises on how to creatively read a text from an acting and directing perspective Informed by over 20 years of directing experience in the UK and Europe, Robert Marsden's book offers a practical guide that ultimately demystifies the rehearsal process and challenges how therehearsal room should be run in the twenty-first century"--

With an exclusive focus on text-based theatre-making, Inside the Rehearsal Room is both an instructional and conceptual examination of the rehearsal process. Drawing on professional practice and underpinned by theory, this book moves through each stage of rehearsals, considering the inter-connectivity between the actor, director, designers and the backstage team, and how the cumulative effect of the weeks in rehearsal influences the final production.

The text also includes:

- Auto-ethnographic and fully ethno-graphic case study approaches to different rehearsal rooms
- Interviews with directors, actors, designers and actor trainers
- A consideration of the ethics of the rehearsal room and material selected for production
- Practical exercises on how to creatively read a text from an acting and directing perspective

Informed by over 20 years of directing experience in the UK and Europe, Robert Marsden's book offers a practical guide that ultimately demystifies the rehearsal process and challenges how the rehearsal room should be run in the twenty-first century.

Daugiau informacijos

Short-listed for STR Theatre Book Prize 2023 2023 (UK).Drawing on professional practice and underpinned by theory, Inside the Rehearsal Room examines the creation of text-based theatre from every stage of the rehearsal process and considers the role of the actor, director, designers and technical team in bringing a production together.
Preface xiii
Acknowledgements xvii
A note on referencing in the text xviii
1 Prologue
1(22)
The structure of the book
2(1)
The structure of each chapter
3(2)
Rehearsal studies as a field
5(1)
Rehearsal origins and definitions
6(2)
Contemporary definitions of `rehearsal'
8(2)
Documenting the process
10(1)
Insider accounts
10(2)
Outsider accounts
12(1)
Outsider-outsider accounts
13(1)
What happens in a rehearsal?
14(1)
The impact of the director on the rehearsal process
15(1)
Rehearsal process polarities
16(1)
Polarity 1 Impulse versus technique
17(1)
Polarity 2 Auteur directorial concepts versus the `invisible' director
17(1)
Polarity 3 Cerebral versus somatic myth-busting
18(1)
Polarity 4 Character versus self (dual consciousness)
19(1)
Polarity 5 To plan versus not to plan
19(1)
The genres
19(4)
2 Rehearsals: Historical overview, current challenges and future opportunities
23(28)
Africa, Asia and Egypt: Storytelling and ritual
23(1)
Ancient Greece
24(1)
Ancient Rome
25(2)
The medieval period
27(2)
The Elizabethan and Jacobean periods
29(4)
The Restoration
33(2)
The Georgian period
35(2)
Naturalism, directors and scenographic advances
37(4)
Interview: Chris Martin on repertory
41(2)
Current rehearsal movements
43(2)
A summary of
Chapter 2
45(1)
Interview: Stephen Boden on the producer as collaborator
46(5)
3 (Pre)rehearsal early decisions
51(38)
Choosing a piece to direct
51(2)
Interpretation over analysis
53(1)
Creating directorial frames
54(1)
Workshop and R&D periods
54(2)
Code cracking
56(2)
The director and designer locate the world of the play
58(3)
Polarity: Auteur directorial concepts versus the `invisible' director
61(1)
The directors and designers collaborate
62(4)
Castings: Breakdowns, collaborators and auditions
66(7)
Combatting the traditional casting process
73(3)
Actor preparation pre-rehearsal
76(2)
The director's overall rehearsal philosophy and methodology
78(2)
A summary of
Chapter 3
80(1)
Interview: Rufus Norris and Katrina Lindsay on their collaborative process
81(8)
4 First steps of the rehearsal
89(34)
Ensemble making and tone setting
90(2)
Practical and loving
92(1)
The play at the centre
93(1)
A genuine collaboration
94(3)
Rehearsal spaces
97(1)
Approaches to the first few days
98(1)
Creating the circumstances
99(1)
The road map
100(2)
Regularity, but not predictability
102(1)
To block, or not to block?
103(3)
Blocking and the psychological
106(2)
Some genre thinking about form and content
108(2)
Rehearsal room breakthroughs
110(2)
`The Four Lenses of Breakthrough'
112(4)
Integration of scenography and stage management
116(2)
A summary of
Chapter 4
118(1)
Interview: Sir Alan Ayckbourn on directing
119(4)
5 The piece grows: Delving deeper in the middle stages
123(30)
Creativity and flow
124(1)
Flow and motivation
125(1)
Flow and the creative state
126(4)
More rehearsal room breakthroughs: Individual and collective discoveries
130(1)
Searching for a truth
131(2)
Actors finding truth within the subtext
133(2)
Opening up the dimensionality
135(1)
Integration in the middle stages of scenography
136(2)
Thinking more deeply about ethical considerations
138(1)
Piecing, stumbling, staggering and running
139(2)
Noting and self-noting
141(1)
Some genre thinking
142(2)
A summary of
Chapter 5
144(1)
Interview with Roy Alexander Weise
144(9)
6 Growing up: Final stages and the emergence of the form
153(24)
The actor fully embodies and letting go
154(3)
Clarity of storytelling
157(3)
Specificity of structure, punctuation and syntax
160(1)
The script is the map
161(1)
Running
162(1)
Giving notes at a run-through as a director
163(4)
Some genre thinking
167(1)
`The Four Lenses of Breakthrough': Lens four - the `wow' moment
168(1)
Snowballing, flow and reaching a `wow' moment
169(1)
A summary of
Chapter 6
170(1)
Interview: The fight directors as collaborators -- Rachel Bown-Williams and Ruth Cooper-Brown of RC-Annie
171(6)
7 Independence: From technical rehearsal through to the run
177(16)
Plotting collaboratively
178(1)
A creative and collaborative technical
179(1)
Close Quarters: The discoveries continue
180(1)
Interview: Ivo van Hove on scenography, technical and dress rehearsals
181(1)
Audience thinking
182(2)
A director calls: Maintaining the production
184(1)
A summary of
Chapter 7
185(1)
Interview: Paule Constable on the role of lighting designer
186(7)
8 Next stages: Industry viewpoints
193(24)
On theatre as an art form in the twenty-first century
193(2)
On being an artistic director
195(1)
On curating a season
195(1)
On creating new models of rehearsing
196(3)
On safe spaces and ethical considerations
199(2)
On education and training
201(1)
On directors working in drama schools and universities
202(3)
On learning from observing rehearsals
205(1)
On structuring rehearsals
206(1)
A final interview: Ken Rea on the role of actor trainer as collaborator
207(6)
Coda: A return to the polarities and some Covid-age thinking
213(1)
Polarity 1 Impulse versus technique
213(1)
Polarity 2 Auteur directorial concepts versus the `invisible' director
213(1)
Polarity 3 Cerebral versus somatic myth-busting
214(1)
Polarity 4 Character versus self (dual consciousness)
214(1)
Polarity 5 To plan versus not to plan
214(1)
Some reflections on theatre-making during a pandemic
215(2)
References 217(8)
Index 225
Robert Marsden is Head of the Department of Media and Performance at Staffordshire University, where he is also an Associate Professor in Acting and Directing. He is a Fellow in Creative Teaching and Learning and a Senior Fellow of the Higher Education Academy. When he is not teaching, Robert is a busy freelance theatre director, and has worked in commercial and subsidised sectors across the UK and Europe since 1999. Roberts research includes British pantomime and rehearsal studies.