- Theater has no choice but to be contemporary (p. 14)
- The director as artist owes obligation to their aesthetic and to the essence of the play (p. 15)
- Directing requires a reservoir of energy and a sense of urgency and commitment (p. 16)
- Director’s are scavengers (p. 29)
- Begin the interpretive process by breaking the script down into units of action (the characters’ desire and how they physically pursued them) (p. 32)
- A beat marks a change in the actions of all prominent players in the scene (p. 38)
- Articulating actions and obstacles is a matter of both intellect and empathy (p. 43)
- The director should know how a character’s actions add up to create one major desire, the super-objective (p. 46)
- Identify the central conflict before themes, since the latter can be vague and applied to countless plays (p. 47)
- Differentiate between the subject of the play (what it’s about, themtatically) and the central action/event (p. 50)
- Name scenes to better remember what happens in them (p. 55)
- List the play’s potential challenges (p. 64)
Questions:
- Explicit versus subtle (p. 56)
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