{"product_id":"the-directors-toolkit-9781138095236","title":"The Directors Toolkit","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThe Director's Toolkit is a comprehensive guide to the role of the theatrical director. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eFollowing the chronology of the directing process, the book discusses each stage in precise detail, considering the selection and analysis of the script, the audition process, casting, character development, rehearsals, how to self-evaluate a production and everything in between. \u003c\/p\u003e\u003cp\u003eDrawing on the author's own experience in multiple production roles, the book highlights the relationship between the director, stage manager and designer, exploring how the director should be involved in all elements of the production process. Featuring a unique exploration of directing in special circumstances, the book includes chapters on directing nonrealistic plays, musicals, alternative theatre configurations, and directing in an educational environment. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe book includes detailed illustrations, step-by-step checklists, and opportunities for further exploration, offering a well-r\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eContents\u003c\/p\u003e\u003cp\u003ePreface \u003c\/p\u003e\u003cp\u003eAcknowledgments \u003c\/p\u003e\u003cp\u003eIntroduction – What Is a Director? \u003c\/p\u003e\u003cp\u003eBackground \u003c\/p\u003e\u003cp\u003eThe Director in the Production Process \u003c\/p\u003e\u003cp\u003eThe Function of the Director \u003c\/p\u003e\u003cp\u003eApproaches \u003c\/p\u003e\u003cp\u003eDirector vs. Acting Coach \u003c\/p\u003e\u003cp\u003eQualities of a Good Director\u003c\/p\u003e\u003cp\u003eThe Production Process \u003c\/p\u003e\u003cp\u003eA Final Thought \u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003ePART I – The Script \u003c\/p\u003e\u003cp\u003eChapter 1 – Script Selection \u003c\/p\u003e\u003cp\u003eScript Selection Process \u003c\/p\u003e\u003cp\u003eSources for Play Scripts \u003c\/p\u003e\u003cp\u003eUnderstanding and Obtaining Performance Rights \u003c\/p\u003e\u003cp\u003eRelationship with the Playwright \u003c\/p\u003e\u003cp\u003eContractual and Ethical Obligations \u003c\/p\u003e\u003cp\u003ePreparing a Production Book \u003c\/p\u003e\u003cp\u003ePlay Selection Checklist\u003c\/p\u003e\u003cp\u003eFurther Exploration \u003c\/p\u003e\u003cp\u003eChapter 2 – Understanding the Play: Script Analysis \u003c\/p\u003e\u003cp\u003eUnderstanding the Play \u003c\/p\u003e\u003cp\u003eDetermining and Understanding the Spine of the Play \u003c\/p\u003e\u003cp\u003eIdentifying the Dramatic Structure of the Play \u003c\/p\u003e\u003cp\u003eDividing the Script into Working Units \u003c\/p\u003e\u003cp\u003eAnalyzing the Play\u003c\/p\u003e\u003cp\u003eDetermining the Style of the Play\u003c\/p\u003e\u003cp\u003eScript Analysis Format\u003c\/p\u003e\u003cp\u003eOutline of Script Analysis Format\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 3 – Research Leading to a Concept \u003c\/p\u003e\u003cp\u003eAnalysis to Research\u003c\/p\u003e\u003cp\u003eProduction Research\u003c\/p\u003e\u003cp\u003ePeriod Research\u003c\/p\u003e\u003cp\u003eBackground Research\u003c\/p\u003e\u003cp\u003eCharacter Research\u003c\/p\u003e\u003cp\u003ePlaywright Research\u003c\/p\u003e\u003cp\u003eStyle Research\u003c\/p\u003e\u003cp\u003eFinal Thoughts on Research\u003c\/p\u003e\u003cp\u003eIntrinsic and Extrinsic Interpretations of the Play\u003c\/p\u003e\u003cp\u003eHistorical and Social Implications in Interpretation of the Play\u003c\/p\u003e\u003cp\u003eDeveloping a Production Concept for the Play\u003c\/p\u003e\u003cp\u003eResearch Leading to a Concept Checklist\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 4 – Style \u003c\/p\u003e\u003cp\u003eWhat Is Style? \u003c\/p\u003e\u003cp\u003eThe Origin of Theatrical Styles \u003c\/p\u003e\u003cp\u003eModern Theatrical Styles \u003c\/p\u003e\u003cp\u003eDetermining the Style of the Play \u003c\/p\u003e\u003cp\u003eStyle vs. Mode\u003c\/p\u003e\u003cp\u003eDetermining the Mode for the Production\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003ePART II – The Production Staff\u003c\/p\u003e\u003cp\u003eChapter 5 – Working with the Production Staff\u003c\/p\u003e\u003cp\u003eThe Role of the Designers\u003c\/p\u003e\u003cp\u003eThe Director’s Relationship with the Designers\u003c\/p\u003e\u003cp\u003eContributions of the Designers\u003c\/p\u003e\u003cp\u003eCollaboration\u003c\/p\u003e\u003cp\u003eDirecting the Design Areas\u003c\/p\u003e\u003cp\u003eProduction Meetings\u003c\/p\u003e\u003cp\u003eA Final Thought\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 6 – Working with the Stage Manager\u003c\/p\u003e\u003cp\u003eThe Stage Manager’s Role in the Production \u003c\/p\u003e\u003cp\u003eThe Stage Manager’s Functions\u003c\/p\u003e\u003cp\u003eThe Care and Feeding of Your Stage Manager\u003c\/p\u003e\u003cp\u003eWhat the Stage Manager Is Not\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003ePART III – Auditions and Casting\u003c\/p\u003e\u003cp\u003eChapter 7 – Auditions \u003c\/p\u003e\u003cp\u003ePurpose of Auditions\u003c\/p\u003e\u003cp\u003eTypes of Auditions\u003c\/p\u003e\u003cp\u003eProcedures for Auditions\u003c\/p\u003e\u003cp\u003ePlanning for the Audition\u003c\/p\u003e\u003cp\u003eThe Use of Callback Auditions\u003c\/p\u003e\u003cp\u003eHow to Improve the Quality of the Auditions\u003c\/p\u003e\u003cp\u003eMethods for Keeping Notes on the Actors\u003c\/p\u003e\u003cp\u003eDirector’s Decorum\u003c\/p\u003e\u003cp\u003eAudition Checklist \u003c\/p\u003e\u003cp\u003eSample Audition Procedures \u003c\/p\u003e\u003cp\u003eSample Audition Form\u003c\/p\u003e\u003cp\u003eSample Audition Worksheet \u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 8 – Casting\u003c\/p\u003e\u003cp\u003eThe Importance of Casting Decisions \u003c\/p\u003e\u003cp\u003eCriteria for Cast Selection\u003c\/p\u003e\u003cp\u003eThe Process of Making Casting Decisions\u003c\/p\u003e\u003cp\u003eNontraditional Casting\u003c\/p\u003e\u003cp\u003eUnderstudies\u003c\/p\u003e\u003cp\u003eChanging Your Mind\u003c\/p\u003e\u003cp\u003eCasting with Other Directors\u003c\/p\u003e\u003cp\u003eCasting Worksheet\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 9 – Scheduling for the Production \u003c\/p\u003e\u003cp\u003ePlanning\u003c\/p\u003e\u003cp\u003eThe Production Calendar\u003c\/p\u003e\u003cp\u003eThe Rehearsal Calendar – Preplanning vs. Daily Schedules\u003c\/p\u003e\u003cp\u003ePlanning the Amount of Time Needed\u003c\/p\u003e\u003cp\u003ePhases\u003c\/p\u003e\u003cp\u003eEstablishing Goals for Each Rehearsal\u003c\/p\u003e\u003cp\u003ePresenting the Production and Rehearsal Schedules\u003c\/p\u003e\u003cp\u003eFinal Thoughts\u003c\/p\u003e\u003cp\u003eScheduling Checklist\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003ePART IV – Floor Plans, Stage Pictures, and Blocking\u003c\/p\u003e\u003cp\u003eChapter 10 – Developing the Floor Plan\u003c\/p\u003e\u003cp\u003eThe Director’s Relationship to the Floor Plan\u003c\/p\u003e\u003cp\u003eUnderstanding Theater Architecture and Its Implications for the Production\u003c\/p\u003e\u003cp\u003eWorking with the Scenic Designer on Developing the Floor Plan \u003c\/p\u003e\u003cp\u003eTypes of Floor Plans (Patterns of Scenery) \u003c\/p\u003e\u003cp\u003eMeeting the Needs of the Script\u003c\/p\u003e\u003cp\u003eUsing the Floor Plan to Focus the Audience’s Attention\u003c\/p\u003e\u003cp\u003eMark Antony’s Funeral Speech\u003c\/p\u003e\u003cp\u003eCreating Visual Interest Using the Scenic Axis\u003c\/p\u003e\u003cp\u003eBalance\u003c\/p\u003e\u003cp\u003eSuggestions for Improving the Floor Plan\u003c\/p\u003e\u003cp\u003eUsing Key Scenes to Develop or Evaluate the Floor Plan\u003c\/p\u003e\u003cp\u003eDrawing the Floor Plan\u003c\/p\u003e\u003cp\u003eFloor Plan Development Checklist\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 11 – Creating Stage Pictures \u003c\/p\u003e\u003cp\u003eWhat Is a Stage Picture?\u003c\/p\u003e\u003cp\u003eThe Process of Developing Stage Pictures \u003c\/p\u003e\u003cp\u003eDeveloping a Stage Picture for Ile\u003ci\u003e \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eSummary\u003c\/p\u003e\u003cp\u003eFinal Thoughts\u003c\/p\u003e\u003cp\u003eStage Picture Checklist \u003c\/p\u003e\u003cp\u003eFurther Exploration \u003c\/p\u003e\u003cp\u003eChapter 12 – Blocking\u003c\/p\u003e\u003cp\u003ePreplanned vs. Organic Blocking\u003c\/p\u003e\u003cp\u003ePurpose for Blocking\u003c\/p\u003e\u003cp\u003ePrinciples of Blocking \u003c\/p\u003e\u003cp\u003eUsing Blocking More Effectively\u003c\/p\u003e\u003cp\u003eKeeping the Blocking Motivated\u003c\/p\u003e\u003cp\u003eBlocking Pitfalls to Avoid\u003c\/p\u003e\u003cp\u003eUsing Props\u003c\/p\u003e\u003cp\u003ePlanning, Recording, and Communicating the Blocking\u003c\/p\u003e\u003cp\u003eBlocking Checklist\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003ePART V – The Rehearsal Process \u003c\/p\u003e\u003cp\u003eChapter 13 – Working with the Actors \u003c\/p\u003e\u003cp\u003eDeveloping a Relationship with Your Actors \u003c\/p\u003e\u003cp\u003eTypes and Functions of Characters \u003c\/p\u003e\u003cp\u003eUnderstanding the Actor’s Process \u003c\/p\u003e\u003cp\u003eCommunicating with Your Actors \u003c\/p\u003e\u003cp\u003eWorking with Actorisms \u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 14 – Rehearsal Techniques\u003c\/p\u003e\u003cp\u003ePlanning for the Rehearsals\u003c\/p\u003e\u003cp\u003eOrganization of the Rehearsals\u003c\/p\u003e\u003cp\u003eKeeping Rehearsals on Task\u003c\/p\u003e\u003cp\u003eGiving the Actors Notes\u003c\/p\u003e\u003cp\u003eKeeping Muscle Memory in Mind\u003c\/p\u003e\u003cp\u003eRehearsing Scenes Involving Violence\u003c\/p\u003e\u003cp\u003eActing Exercises to Address Particular Needs\u003c\/p\u003e\u003cp\u003eRehearsal Organization Checklist\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 15 – Rehearsal Challenges \u003c\/p\u003e\u003cp\u003eChallenges vs. Problems\u003c\/p\u003e\u003cp\u003eSituations\u003c\/p\u003e\u003cp\u003eSummary\u003c\/p\u003e\u003cp\u003eProblem Solving Checklist\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 16 – Tempo, Rhythm, and Pace\u003c\/p\u003e\u003cp\u003eThe Director’s Relationship to Tempo, Rhythm, and Pace \u003c\/p\u003e\u003cp\u003eTempo \u003c\/p\u003e\u003cp\u003eRhythm\u003c\/p\u003e\u003cp\u003ePace\u003c\/p\u003e\u003cp\u003eUniting Tempo and Rhythm to Create Pace in the Production\u003c\/p\u003e\u003cp\u003eTechnical Implications on Pace\u003c\/p\u003e\u003cp\u003eTools and Considerations for Building the Tempo, Rhythm, and Pace of the Production\u003c\/p\u003e\u003cp\u003ePace and Energy\u003c\/p\u003e\u003cp\u003eTempo, Rhythm, and Pace Exercises\u003c\/p\u003e\u003cp\u003eFinal Thoughts\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 17 – Polishing the Play\u003c\/p\u003e\u003cp\u003eThe Function of the Polishing Rehearsals\u003c\/p\u003e\u003cp\u003ePolishing the Acting\u003c\/p\u003e\u003cp\u003eImplementing the Technical Aspects into the Production\u003c\/p\u003e\u003cp\u003eTechnical Rehearsals without the Actors (Dry Techs)\u003c\/p\u003e\u003cp\u003eTechnical Rehearsals with the Actors (Actor Techs)\u003c\/p\u003e\u003cp\u003eDress Rehearsals\u003c\/p\u003e\u003cp\u003eStaging and Rehearsing the Curtain Call\u003c\/p\u003e\u003cp\u003eFinal Thoughts\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 18 - Evaluating the Production\u003c\/p\u003e\u003cp\u003eWhy Conduct an Evaluation? \u003c\/p\u003e\u003cp\u003eEvaluating the Production\u003c\/p\u003e\u003cp\u003eExternal Sources of Evaluation\u003c\/p\u003e\u003cp\u003eCombining All Sources of Evaluation\u003c\/p\u003e\u003cp\u003eProduction Evaluation \u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003ePART VI – Additional Topics\u003c\/p\u003e\u003cp\u003eChapter 19 – Directing Nonrealistic Styles (Styling the Production) \u003c\/p\u003e\u003cp\u003eIdentifying the Style\u003c\/p\u003e\u003cp\u003eConventions of Styles\u003c\/p\u003e\u003cp\u003eDirecting a Presentational or Nonrealistic Style\u003c\/p\u003e\u003cp\u003eDetermining the Mode for Nonrealistic Styles\u003c\/p\u003e\u003cp\u003eMatching Your Directing Style to the Style of the Play\u003c\/p\u003e\u003cp\u003eExamples of Working in Styles Other Than Pure Realism\u003c\/p\u003e\u003cp\u003eGreek Theatre \u003c\/p\u003e\u003cp\u003eShakespeare\u003c\/p\u003e\u003cp\u003eComedy\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 20 – Directing Musicals\u003c\/p\u003e\u003cp\u003eUnderstanding the Difference Between Musicals and Straight Plays\u003c\/p\u003e\u003cp\u003eAdditional Collaboration in Musicals\u003c\/p\u003e\u003cp\u003eWorking with the Music and Choreography in Developing the Characters\u003c\/p\u003e\u003cp\u003eAdditional Considerations in Rehearsals for Musicals\u003c\/p\u003e\u003cp\u003eA Word About Working with Musicians and Choreographers\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 21 – Directing in Alternative Settings\u003c\/p\u003e\u003cp\u003eRecognizing How Directing in Alternative Settings Differs from Proscenium\u003c\/p\u003e\u003cp\u003eGeneral Guidelines for Directing in Alternative Settings\u003c\/p\u003e\u003cp\u003eDirecting in an Arena Configuration\u003c\/p\u003e\u003cp\u003eDirecting in a Thrust Configuration\u003c\/p\u003e\u003cp\u003eDirecting in Other Configurations\u003c\/p\u003e\u003cp\u003eTouring\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eChapter 22 – Directing in an Educational Environment\u003c\/p\u003e\u003cp\u003eThe Director as Teacher\u003c\/p\u003e\u003cp\u003eUnderstanding the Goals of Educational Theatre\u003c\/p\u003e\u003cp\u003eUnderstanding the Role of the Educational Director\u003c\/p\u003e\u003cp\u003eThe Relationship of the Director with the Cast and Staff\u003c\/p\u003e\u003cp\u003eWorking in the School Environment\u003c\/p\u003e\u003cp\u003eFurther Exploration\u003c\/p\u003e\u003cp\u003eThe Next Step \u003c\/p\u003e\u003cp\u003eAppendix A – Sources for Play Scripts\u003c\/p\u003e\u003cp\u003eAppendix B – Plays, Films, and TV Shows Referenced \u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49407213797719,"sku":"9781138095236","price":35.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781138095236.jpg?v=1730498591","url":"https:\/\/bookcurl.com\/products\/the-directors-toolkit-9781138095236","provider":"Book Curl","version":"1.0","type":"link"}