International Director's Laboratory

under the guidance of Sergey Ostrenko

August 22-27, 2005
Kiev, Ukraine  

The meeting took place in the recreation centre situated 
20 km from the centre of Kiev on the picturesque bank
of the Dnepr River. Surrounded by the natural beauty the place creates the atmosphere awakening creative imagination. 

Director's Laboratory is the excellent opportunity for directors and choreographers to get the new creative inspiration during the practical work with colleagues from different countries and to find interesting ideas valuable both for the daily work with the group and the realization of the greatest projects on the stage.

The group worked on the basis of the methods developed as a result of the long-term research carried out by Sergey Ostrenko together with the members of IUGTE Creative Laboratory.

The Laboratory program included intensive practical work, theoretical discussions and lectures.

The Director's Laboratory experience is particularly valuable and can help to answer various topical questions of stage artists interested in contemporary directing
and production.

DIRECTOR FROM READING THE PLAY
TILL MEETING THE ACTORS

“Each art should be preceded by
the definite mechanical skill”
(Goethe)

LEVEL I
Director’s analysis of the play

1. Sensual penetration into the play
a) repeated rereading
b) contemplation of images
c) active retelling, etc.

2. Formulation of the plot
of the play
Brief story about the main conflict.


3. Revelation of the basic events and actions
a) determination of the initial and the final events
b) determination of the main event
c) determination of the central event
d) through actions of all characters
e) counteractions and conflicts

4. Investigation of the given circumstances
a) space
b) time
c) chain of objects

5. Characteristic of the personages
a) all statements about the personages according to the text of the play b) all statements of personages about themselves

6. Immersion into the material
a) investigation of the epoch
b) biography of the author
c) personal correspondence of the author
d) critiques of the contemporary

7. Formulation of the super-objective of the performance

Connection of the through action and the super-objective

LEVEL II
Composing the Performance

“Today’s actors often sit twiddling their thumbs
and anticipating the inspiration from Apollo.
Useless, my dear! He is too busy with his own business”
(G.Fedotova)

1. Release from stamps and stereotypes
2. Irresponsible composition of crazy ideas
3. Composition of style 
4. Determination of genre 
5. Search of the performance form 
6. The period of expectation, ripening 
7. Enlightenment 
8. Check-up by the play 
9. Director, composer, designer, choreographer –
   the team of leaders. 
10. Some words about casting

“When I am going to write a comedy
I lock up the rules under sextuple lock”
(Lope de Vega)