International
Acting-Directing Laboratory 

THEORETICAL PART: LECTURES & DISCUSSIONS “Director since Reading the Play till Meeting the Actors”

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

Phase 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.
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

Phase 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)