By Marian F. Monta, Jack R. Stanley
If directing dramatic productions pursuits you, this ebook is a easy advisor to teach you recognize to use the rules of directing to any dramatic medium--stage, tv, or film. The authors, who've labored in all 3 media, illustrated how the rules of 1 medium relate to the opposite .
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Extra resources for Directing for Stage and Screen
In other cases, they misunderstand the ideas or interpret them incorrectly. The director has to make clear all the elements, both visual and aural, so that the end result is complete and the emphasis, moment to moment, is properly balanced. One aspect of listening is often out of your control on any project. Go to a Broadway musical. Try to listen to the lyrics. The sound is so loud that the lines are lost. I often have to put my fingers in my ears to avoid acute pain. Yet each time I complain to the sound engineer—and I track these people down to complain to them—I am told DIRECTING AND STYLE 33 that management wants it that way.
Pathy” is a Greek root meaning emotion. We feel sympathy when we recognize the emotion of a friend who has lost a parent while ours are still alive. We have not experienced the feeling, but we recognize it. We feel empathy when we know what the experience feels like and tend to relive it somewhat when it happens to another. We feel apathy when we lack the emotion. Aesthetic distance is an awareness that reminds us it is not real, and while watching Shakespeare’s Othello (1604), we should not warn the wife Desdemona that her husband Othello is about to put her lights out.
If enough people did it, perhaps the problem would lessen. We can understand why they turn up the volume during previews and commercials—everyone is talking and no one is paying attention. But why do they play the entire film that way in some cinemas? ) Watch One of your responsibilities is to see that the final production, in any medium, contains all the dialogue spoken so it can be understood. You have to watch the script as well as listen carefully to do this. You can’t learn the lines for the actor, but you can have theAssistant Director (AD) for stage, or script supervisor for screen) keep an eye on the script at each run-through.
Directing for Stage and Screen by Marian F. Monta, Jack R. Stanley