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Reading assingment 1 - Coggle Diagram

- - - - I love this idea of using little siblols for keeping track during an audition. when i was aduition for the spring play i was having such a hard time keeping track on the studetns and what I thought of them this would have been so much easiser
    - - Just say no
    - - Look at a résumé when you like the audition.
      - A résumé can help in a final choice between two actors. Mainly trust your eyes and ears, not the paper.
    - - Give several adjustments to see how the callbacks take direction.
    - - What parts of the role will be hardest for her? Are these key moments and qualities?
      - I like this idea of thinking of what's going to be the hardest part to do for an actor and actress. especially when it comes to teaching high school students. I think being aware of where their strengths and needs are, especially since I get so much time with them, being able to sit down and really think about how this role will affect them and how I can strengthen them will help me better teach and direct my students.
    - - Put the pictures in A piles (the person or persons you would cast), B piles (backups you would take), C piles (over your dead body).
      - If you have an overwhelming sense that you should -- no ifs, ands, or buts -- cast a certain actor, don't second guess yourself, do it.
      - Just to be sure you can face the music, hold up this paragon's picture and ask "any negatives?" Unless the others in the casting room make a point that changes your mind, make the offer.
    - - You can make notes on people's acting class work.
      - Love this idea of creating casting files, especially in education. It not only will help me keep track of students work and see how they're progressing, but it will also help me in choosing shows to best suit my students strengths and needs, but also. see areas that I can work with them with.
  - - - An enormous part of director's job is to remind the actors of the circumstances, and that means not only the circumstances that surround the scene but those that impact the moment.
    - - When you know a moment or exchange isn't working, go home and do the beats and analyze them
    - - Particularly helpful to the director is the query "To what end?" It opens up the complexities behind the simple action. You can examine a single moment for an action to solve a problem in rehearsal.
    - - When energy and/or concentration flag, work with the actor on the obstacle.
      - Use of the obstacle can lead you to solutions in the playing that you might never have conceived otherwise.
      - I think this is a really good point, especially with high schoolers. They're really good at figuring out what a character wants, but very much struggle with figuring out how they're. challenge is stopping them from getting there. If I think I've used the what is your obstacle I will get better results out of my actors.
    - - If the obstacle is a strong one, it allows the actor to try different tactics, which creates the variety that holds our interest. When the work seems boring, it may be that you need to suggest another tactic.
    - - The net result of the actor dissing the transitions is to destroy sense, ignore rhythm, cripple our belief, and lose the opportunity for wonderful moments
    - - The super objective is what the character wants above all.
    - - The practical point is that you don't want to be playing the end before it arrives, and you certainly don't want to be playing the beginning at the end.
    - - Finally, I began to realize that theme was the director's super objective. I saw that it unified my work and increased its power.
  - - - The rule is, know the form before you explode it.
    - - When you give ultimate focus to a character or relationship that doesn't reveal the play's theme and emotional center, the production dithers, misses some wonderful opportunities, and, worst of all, doesn't pay itself off.
      - What happens in the last ten minutes usually makes the central character obvious.
      - I really wish I would have known this tip before doing the spring play. It would have been so helpful to have thought about who was the actual main character of that play, versus just the overall genetic idea of the play
    - - When the play is built around central relationships, it allows you to see the other characters by their function.
    - - Take a hard look and decide whether you need to be the event ("Amazingly directed, wildly inventive!") or whether this play can basically do its own work.
    - - It is always best that the writer and director have hammered out an approach before rehearsal, but it isn't always possible, and there are problems generated in the moment.
    - - Usually the overlap is shallow, meaning Actor B starts in three words before Actor A is finished.
    - - Block the play early; it's going to be harder than you think.
    - - No matter what anybody says, cut.
      - Simplicity, clarity, heart.
    - - Organize the time available to the last minute.
    - - The best work is done by directors passionate about the play's ideas, politics, relationships, humanity, or morals because, more often than not, lukewarm feelings make lukewarm work.
      - You need to find something in it that speaks to your own life and makes the work personal to you.
      - I love these ideas. I know that there are gonna be times where I am gonna have to do a play just based on the fact that I'm working with high schoolers and that it's not something profoundly inspirational to me. So recognizing and finding the good in it will keep me going longer while working with these wonderful youth.
- - - - I love the idea of reading each part as though you were playing it just based on the fact of how you can better direct that character towards the vision that you're seeing. It's so easy to focus on just the main cast and let the others go to the side, but by focusing on each of the characters individually not necessarily in a deep extent, but enough that you were able to understand how you want to see them go. It will definitely be helpful
    - - Towards the end of the play, as the audience anticipates an impending collision or miracle coming, they won't care about what happens nearly as much as they'll care about how the characters react to what happens. Again, the emotional journey is more important than the destination.
    - - A. What is the first impression the actors and the design should make on the audience?
      - B. What should their final impression be as the play ends?
      - C. How do you propose getting from a to b?
  - - - Give the audience a role in filling in what's happening. That is, give them all the dots they need but don't connect all the dots for them.
    - - if you get 60 percent of what you saw in your head onto the stage, you're doing very well.
    - - This will help you approach the impossible state of infinite patience and benevolence that actors and others expect from you.