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NDTENOR
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Quote NDTENOR Replybullet Posted: 2/03/11 at 6:51pm
No..... don't worry about it..... I'm sure you are someone that I will stay FAR away from.

     
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Majicwrench
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Quote Majicwrench Replybullet Posted: 2/03/11 at 7:27pm
 No need to stay far away, I sincerely meant what I said about parting friends. I have deep respect for people who can express  their ideas and motives up front. Like I said, it saves a lot of headache. Nothing worse than somebody telling me what they think I want to hear and not meaning it. So please don't take offense, I can appreciate your honesty.
 Keith
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NDTENOR
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Quote NDTENOR Replybullet Posted: 2/03/11 at 9:37pm
Well... you see Majicwrench old chap .... you and I really would have no special differences of opinions if , as a director, you decide to do it the AUTHORS way. Not MY way or YOUR way. The AUTHORS way.

You see when you "lease" the rights to a production you are , in a real sense, leasing a work of art. That does not mean that you can do or exhibit the work any way you choose. You are "leasing" the right to exhibit the work of art in a way that the author intended it to be exhibited. Not some bastardized version that you made up. But, in a very real sense, how the author would have wanted it exhibited.

I'm sure that if you do your homework and really study and pay attention to the characters of the production and really understand them and present them as the author would have wanted them presented them presented then you and I would have no difference of opinion.

Sorry.... but I do my "homework". Some directors don't.
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edh915
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Quote edh915 Replybullet Posted: 2/03/11 at 10:44pm
So, NDTENOR, if I'm understanding your remarks to Majicwrench correctly, if it should happen that you audition for a production of, let's say, "As You Like It" by William Shakespeare being directed by Majicwrench, you, by virtue of your "homework" will have been able to discover exactly how the play should be done because you will have determined to the nth degree exactly how Mr. Shakespeare would have wanted to direct and present that particular show; and any "homework" that Majicwrench will have done with the same end result in mind will be disregardable if it doesn't match up exactly with you have determined to be Shakespeare's "truth".

Well, that's just a load of bollocks, isn't it?

You might have a leg to stand on if you were working with something by G.B. Shaw or Arthur Miller, for example, because those guys wrote scads of detail into their stage directions.  And even with their works, all any director can do is interpret.  All "you" can do is interpret.  It's all anyone can do.  A good director will be searching for the "truth" of the production he/she is directing.  However, there is no one, except the author himself, who is qualified to judge whether or not that "truth" has been adequately represented.  But the director, by virtue of his position, "is" the final word on his interpretation of any production he directs.
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NDTENOR
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Quote NDTENOR Replybullet Posted: 2/04/11 at 12:14am
Wonderful question edh915.

    I do musicals. American musicals ( and your "British -American authors like Andrew Lloyd Webber ) for which there is a wealth of historical information available from both the author and other sources. Some even have their own web sites. A wealth of information is available.

   Oh, yes, a lot of people have written about "The Bard" too, critically, by the way.

I read a lot before I do a show. And do a lot of research.

   It's most surprising how how many directors do not seem to. And how much I agree with the ones that have seemed to do their homework.

    And you are quite right... If I would happen to work with someone who was directing their own work ... like my fellow Chicagogan David Mamet I would take what he would direct as God's truth. After all... it is HIS show.. he knows what he wants.

   But another director..??? Not his ( or her ) show? I would have to think about that.
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TonyDi
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Quote TonyDi Replybullet Posted: 2/04/11 at 7:00am
Just another example on here of...............oh never mind. I'm sick of this. Whatever I say will most certainly be taken the wrong way....not that I intend that what I say will please anybody. It just amazes me how "smart" some people think they are....or are not.  Aw, fuhgedaboudit!! I give up.  Why bother anymore. Too bad - just callin' 'em as I see 'em.
 
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Edited by TonyDi - 2/04/11 at 7:04am
"Almost famous"
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Rorgg
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Quote Rorgg Replybullet Posted: 2/04/11 at 1:44pm
Actually, there IS a position for "The Writer" in the show's interpretation.  If the playwright himself isn't available, that's the job of the dramaturge.  S/he works with the director, representing the writer's intent.  Now, most productions don't have a dramaturge, so that job is incorporated into the director.  Someone has to make the final choice when it comes down to it.  And who that is is pretty clear, unless one fancies oneself a divo/a.
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SamD
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Quote SamD Replybullet Posted: 2/04/11 at 8:07pm
A director should direct. Otherwise, what would be the point?
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edh915
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Quote edh915 Replybullet Posted: 2/04/11 at 10:19pm
SamD:  Hear, hear!  From your mouth to the pseudo-intellectuals' ears.
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Quote KEB54 Replybullet Posted: 2/08/11 at 2:20am
I view it as a collaboration. I as director have a vision that I am working toward.  But I also view the actor as an artist that draws from his own experiences. I feel it behoves  me to take advantage of that. Actors also need to interACT with other actors. I am there to guide and direct. Hopefully it is done with respect.
 
I welcome and encourage trying new things.  However, I view myself as the eyes and ears of the actors, afterall they cannot see nor hear themselves from the audience, and they need to have trust in me and listen to what I have to say. I am there so that no one on stage will look bad. I have the final say and the actors must realize that it is done with the best interest of the production in mind.
 
On a couple of posts now I have seen NDTENOR (I believe) make comments about things being done via email - things like actor/director interactions, script changes, rehearsal notes, etc. I guess that I am apalled at such things.  It would never even occur to me! I use email to document rehearsal schedules, but that is about the extent of it. i don't see how it is possible to be effective using email for the other things. We are talking about live theatre, where personal, live interactions are everything! I wouldn't even want to do such things over the phone.
 
I don't get it! How can you effectively communicate about live productions where your face, your posture, your mannerisms, your voice, your expressions, and all other physical things provide the media through an email? I am amazed by even the concept.
KEB
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