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Reading:   Director's Homework

Text:  A Sense of Direction (Chapter #3:  The Cornerstones for Success - pgs 23-26)

Your Follow-up Tasks:

Answer the following questions from the text:

(Respond in your journal, using your "Reading" labels.  Head each question with the question's red word(s).)

1.  Give 5 ways that Ball describes "general beauty" on page 24.

2.  Ball states that the likelihood of success [for a play] is almost nil if the director doesn't believe in the _________________.

3.  Ball says that what a director really wants to be is whom?

4.  What are the 5 predominant elements in plays?

Answer the following analysis questions about YOUR directing task/piece:

(Respond in your journal, using your label "Directing" labels.  Head each question with the question's red word(s).)

1.  What is the "general beauty" in the piece you will be directing?

2.  What is the theme of the piece you will be directing?

3.  What is the predominant element in the piece you will be directing?  Why do you think this is?  (Give examples from the text.)

4.  Describe the "world of the play" in the piece you are directing.

5.  Choose a metaphor for the piece you are directing.  (Described in detail on pg 33-36)

6.  What is one big or new "ah-ha" thing you discovered or learneda botu directing from this chapter?  How do you think it will help you?

Create a collage of images, colors, textures, etc. for the peice you are directing.  (See me for specific directions.)

Text:  Thinking Like a Director  (Chapter #5:  Developing the Approach - pgs 66-77 & 80 only)

Text:  A Sense of Direction (Chapter #7:  The Rehearsal Process - pgs 93-100 only)

        (Includes:  Pre-Production Homework, Design Conferences, Text Preparation)

Your Follow-up Tasks:

Answer the following questions from the section, "Pre-Production Homework" (pgs 93-96):

(Respond in your journal, using your "Reading" labels.  Head each question with the question's red word(s).)

1.  Directors should read scripts MULTIPLE times.  In doing so, often a “mental movie” begins to unfold in an experienced director’s mind of how to stage scenes/the show.  For passages that may be unclear, a director should always get his/her answers from where?

2.  The last line before the end of an act is called a what?  (Why are these lines important?  In the piece you are directing, how can this line be used as punctuation for your piece?)

3.  It is imperative for a director to do all of his/her pre-production homework.  This gives the play vision and form; it answers all of the “whys” of the script, and addresses all the script’s/play’s needs.  After a director’s homework is done and (s)he enters the rehearsal process, what should the director do with all that “homework”?   Why?  (Hint:  Rehearsal is a process!) 

Answer the following questions from the section, "Design Conferences" (pgs 96-98):

1.  In talking with designers, it is important to begin discussion with a description of the __________________________. What else is important to make sure designers know about your concept?  

2.  Why does Ball ask his designers to work in pencil? 

Answer the following questions from the section, "Text Preparation" (pgs 98-100):

1.  Give two reasons that Ball gives for giving actors scripts on the first day with the cuts already marked.  

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