The Directors Craft: A Handbook for the Theatre

Editorial Reviews. Review. 'As an introduction to Stanislavski, and a demystification of the director's role, this is a comprehensive read.' - Total Theatre . 'This is.
Table of contents

It will inspire everyone, from the beginner just starting out to the experienced practitioner looking to reinvigorate their practice.


  1. .
  2. Two Pieces. No. 1. Nocturne.
  3. .
  4. Puppet on a Chain!
  5. .
  6. One Purpose?
  7. Blood Is Red (The Color Series: a collection of Scott Sigler Short Stories Book 1)?

Katie Mitchell shares and explains the key practical tools she uses to approach her work with both actors, production teams, and the text itself. She addresses topics such as: Each chapter concludes with a summary of its critical points, making this an ideal reference work for both directors and actors at any stage of their development. Product details Format Paperback pages Dimensions x x People who bought this also bought. A Director Prepares Anne Bogart. Different Every Night Mike Alfreds.

A Sense of Direction William Ball. Notes on Directing Frank Hauser. The Empty Space Peter Brook.

Refine your editions:

Directors on Directing Toby Cole. How to Read a Play Damon Kiely. Actor and the Target Declan Donnellan. Into The Woods John Yorke. Text In Action Cicely Berry. Improvisation for the Theater Viola Spolin.

Dramaturgy in the Making Katalin Trencsenyi. On Directing Harold Clurman. Backwards and Forwards David Ball. Yes Please Amy Poehler. Performing to the Camera Simon Baker. John Mellencamp John Mellencamp.


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    The Directors Craft A Handbook for the Theatre

    To ask other readers questions about The Director's Craft , please sign up. Lists with This Book. This book is not yet featured on Listopia. Dec 17, Kate rated it really liked it Shelves: Katie Mitchell is a director with a deservedly big reputation for excellent work. This handbook is a well-crafted look at the craft of making theatre from the viewpoint of the director. It is practical and shows a clear eye for what is and what is not important in the process. It's an excellent book for students and all practitioners of making theatre.

    Feb 05, Justen rated it it was amazing Shelves: This is a book I wish I'd read earlier in my directing career.

    The Director's Craft: A Handbook for the Theatre by Katie Mitchell

    Mitchell lays out a clear, relatable process that addresses directing today. Taking care to acknowledge that not every production has the resources of the National Theatre at its disposal, she refers to ways to cut back on the process and other adaptations to address a wider spectrum of budget and time. Some fantastic exercises you can pull out or a full process you can follow, I found her methods complementary to my own.

    I look forw This is a book I wish I'd read earlier in my directing career.

    5 editions of this work

    I look forward to experimenting with adding some of her techniques, especially in the pre-production period, to my own work. Jul 16, Maria Shury-Smith rated it it was amazing Shelves: A thoroughly useful and comprehensive guide to directing. It is Katie Mitchell's honesty about work she has directed of lesser success that is particularly refreshing as the reader is encouraged to reclaim their own mistakes in the same way the author has done and put the experience to good use on the next job. Necessary reading for all would-be directors!

    Aug 13, Daniel rated it it was amazing Shelves: Prudent, practical, clearly written and inspiring. A very thorough and precise explanation of the director's process. Great information on script analysis and some interesting ideas and suggestions on approaching rehearsals with actors.

    The Director's Craft: A Handbook for the Theatre

    Some things I definitely want to explore the next time I direct a show. Dec 06, Mo rated it it was amazing. Dec 02, Eliot Fiend rated it really liked it Shelves: Nov 08, Amaranthos rated it it was amazing Shelves: Aug 19, Ana rated it it was ok. During my MA I took a directing module and noticed I didn't actually know a lot of theory about it.

    My classmates and teachers spoke a lot about this Katie Mitchell book, since she is one of the most important contemporary British directors. She studied the same MA I was studying so I thought it might be a good place to start having more directing theory as I thought we might have some common ground due to our studies. Well, don't take me wrong. I am going to write something that During my MA I took a directing module and noticed I didn't actually know a lot of theory about it.

    I am going to write something that might make you hate me if you do theatre, but such is life. I don't like Stanislavsky. Well, I do like him, but I like the late Stanislavsky; the one who realized he had made a mistake with his first method, revised it and started proposing exercises based on actions, knowing he had a lot left to explore and discover. Then, what particularly bothers me, is not Stanislavsky per se, but the people who learnt his teachings without acquiring his need to continue exploring and experimenting with acting, and so they went and established a school where, according to them, they teach a "method".

    You know, cause there is a universal formula for acting that is valid and useful in absolutely every situation. Well, Katie Mitchell's book is like the people who did "The Method" based on Stanislavsky's teachings. The Director's Craft is a director's manual, giving you a series of steps and assuming these steps are useful in absolutely every situation.

    It explains how you should analyze the text before starting rehearsals, how to stage the text, how you should treat the actors and the creatives I do not believe in methods nor in universal truths, even less so for something as changing and human as theatre, but I respect people can think whatever they want; so Katie Mitchell's attempt to create a method would maybe not bother me so much, except for the fact that so many times when she is giving "advice" she does it with this condescending and pretentious tone that I was told that she wrote this book early on in her career, when she thought like young Stanislavsky did that there could be a universal formula for directing; that later she realized her mistake and began making more explorations and changing her way of working.