Author of The fervent years, On directing, On directing, Lies like truth, Ibsen, Famous American plays of by Harold Clurman 8 editions - first published in On Directing [Harold Clurman] on reiposavovta.ga *FREE* shipping on Don't have a Kindle? Get your Kindle here, or download a FREE Kindle Reading App. On Directing by Harold Clurman () [Harold Clurman] on reiposavovta.ga *FREE* Get your Kindle here, or download a FREE Kindle Reading App.
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First book on the acting/theatre shelf is the classic On Directing, by Harold Clurman. Lee Strasberg, Harold Clurman, Cheryl Crawford. On Directing by Harold Clurman - “A straightforward, tasteful, and articulate account of what it is to bring a play to palpitating life upon a stage” (The New. Click Link Below and Free Register to download ebook: Review In his writings as a teacher, director, and theater critic, Harold Clurman often comes across.
But today, any junior high-school age kid would probably know all this material. Its all pretty much old-hat at this point. We're simply in a much more media-aware age than whenever this book came out.
It is not a 'how-to' or a 'manual' of any kind. For sure, Clurman explains the way he directs--in detail--he shares much sage advice.
But he offers no instructions. Half the book is how Harold Clurman 'assesses' a long list of famous plays and famous fictional characters he encountered during his career. Basically you can read his 'old notes' for famous stage plays. This is fully half the book: talk about what the 'spine' is for fifty plays and fifty protagonists.
Annoyingly, Clurman uses the word 'spine' as his constantly reiterated 'go-to' concept. He really wants you to gravitate to use of his favorite phrase.
What is the 'spine' of Hamlet? But what if you don't wish to adopt this?
At the end of it all, its simply a pleasant, 'fireside chat' of a book. A garrulous, and rambling set of "reminiscences" rather than a clear-cut set of methods you can adopt in your own career. You learn all about how Clurman made his mark on the stage-- but not at all about how to go about directing a play of your own. There's 'guidelines' Clurman offers, sure--but always with the understanding that 'you can probably find your own way just as well!
If you are trying to learn directing techniques Here's mine. My first experience as an actor was when I was in church. I played an important shepherd in a musical called "No Phibbin' Mephiboseth". This was much later followed by a Middle School version of "The Hobbit" and then, in High School, I tried to act in at least two plays a year.
College also found me acting many times.
I have been in seven I believe acting courses, a Stagecraft course, worked on sets for at least three or four plays, and - in my recent job - been afforded the chance to co-direct Jean Anouilh's Antigone as well as work with students directing their own plays for the past few years.
I've been in the theater for a while. It must relate to the world we live in. In November , Clurman led weekly lectures, in which they talked about founding a permanent theatrical company to produce plays dealing with important modern social issues.
Together with 28 other young people, they formed a group that developed a groundbreaking style of theater that strongly influenced American productions, including such elements as Stanislavski -trained actors, realism based on American stories, and political content. In the summer of , the first members of the Group Theatre rehearsed for several weeks in the countryside of Nichols, Connecticut at the Pine Brook Country Club. Clurman was the scholar of the group — he knew multiple languages, read widely, and listened to a broad array of music.
Strasberg dealt with acting and directing, and Crawford dealt with the business. The play's success led Clurman to develop his directing style. He believed that all the elements of a play—text, acting, lighting, scenery and direction—needed to work together to convey a unified message.
Clurman would read the script over and over, each time focusing on a different element or character. He tried to inspire, guide and constructively critique his designers rather than dictate to them. He also used Richard Boleslavsky's technique of identifying the "spine," or main action, of each character, then using those to determine the spine of the play.
He encouraged his actors to find "active verbs" to describe what their characters were trying to accomplish. In , tensions among Clurman, Crawford and Strasberg caused the latter two to resign from the Group; four years later, the Group Theatre permanently disbanded.
Clurman went on to direct plays on Broadway, more than 40 in all, and write as a newspaper theatre critic. Marriage and family[ edit ] In Clurman married Stella Adler , a charismatic theatre actress and later a renowned New York acting coach.
Clurman was her second husband.
They divorced in Clurman's second marriage was to the independent filmmaker Juleen Compton. He is considered "one of the most influential theater directors in America". She summarized his approach as demanding the human being within the character: In , I worked in a play under the direction of Harold Clurman. He opened a new world in the professional theatre for me.