book

Changing Direction: A Practical Approach to Directing Actors in Film and Theatre

by Lenore DeKoven

February 2006

Intermediate to advanced

216 pages

5h 31m

English

Focal Press

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Exercises Relaxation Exercise Concentration Recall Sense Memory Exercise Recall Exercises Physical State of Being Recall Emotional Memory Exercise The Method or a Method

Life Needs and Scene Needs The Who am I Exercise Scene Needs Choosing the Outline Actions Hello How are you Exercise Action Verb List Shorthand Communication Additional Layers Preparation and Personalization
The Text Collaborating with the Writer The Throughline Constructing the Throughline “Ordinary People” as Prototype Writing the Throughline
Genre Structure Position of Characters The ARC The Givens
Protagonist or Antagonist Analysis of Character Making the Choice
The Character Description Casting Resources Categories Articulating the Description Casting Directors Reading the 8 ×10’s Understanding the Training The Interview Graceful Rejection The Audition The First Reading The Callback Casting Children Making the Final Choice Adding the Camera Matching and Chemistry
The Table Reading Introductions Discussion of the Throughline Collaborating with the Actors Scene-by-Scene Rehearsal Movement in the Scene and the Use of Props Starting the Scene The Jump Ball The Moment to Moment Communicating with the Actors A Sample Scene Designing the Arc Choosing Needs Rehearsal Schedule Use of Improvisation Nudity and Sex Fight and Action Scenes Rehearsing Children
Catch the Details The Camera as Actor Establish Geography Choice of Shot The Eyes of the Actor Close-Ups Number of Takes Coverage Locations Adjusting to the Camera Emotional Demand Nonactors Imbalance Preparation is Everything
The Language: A Similarity Size: A Difference Adjustments Audience
Necessary Attributes To Compromise or not to Compromise Additional Attributes

Content preview from Changing Direction: A Practical Approach to Directing Actors in Film and Theatre

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Introduction

Some years ago I heard a story that I love to tell my students. It concerns the saintly Mother Theresa whose humane works are legendary. It is said that when she arrived at heaven’s gate, God was waiting to greet her.

“Welcome, welcome,” he cried. “We are overjoyed to see you.”

“Thank you, O Lord,” murmured Mother Theresa, bowing humbly.

“Dear Mother Theresa,” said God. “You have lived such an exemplary life.

You have done so much for humanity. You deserve to be richly rewarded.

I’d like to give you a gift. What can I grant you? What have you always wanted and never had the opportunity to receive or pursue?” Mother Theresa bowed her head in deep thought. When she looked up at God finally her eyes ...