By Anne Bogart

From famous auteur of the yank theatre scene, Anne Bogart, And Then, You Act is an interesting and available publication approximately directing theatre, appearing and the collaborative inventive process.

Writing sincerely and passionately, Bogart speaks to a large viewers, from undergraduates to practitioners, and makes a useful contribution to the sector tackling topics such as:

  • intentionality
  • inspiration
  • why theatre matters.

Following on from her profitable publication A Director Prepares, which has turn into a key textual content for instructing directing sessions, And Then, You Act is a necessary practitioner and pupil resource.

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Extra resources for And Then, You Act: Making Art in an Unpredictable World

Sample text

The temptation to wait until the perfect situation and the right people are in place before you make your best effort is simply avoidance. Do not wait. Your dedication to the given circumstances, right now, will eventually bring you closer to others who share your own belief and commitment. If you do not commit fully to the people with you now, like-minded others will never show up. Learn to love, admire, respect, and appreciate the people with whom you work. These colleagues, partners, and coworkers provide the necessary keys to your own development and growth.

Clarity of thought leads to clarity of expression. Learn to be articulate, discover your own words, and describe what you believe in. Stand up and articulate what you are rather than what you are not. These activities will give greater force to the way your art meets the world; it will alter the way you frame the world and it will help to define and describe what could be. The performance of articulation is a positive action in the world. It will cause change. George Lakoff, a cognitive linguist, explains how the Republicans have used cognitive linguistics to win ideological battles.

The actors learned their blocking from the director. The air in the rehearsal hall felt stale and heavy. No art was happening as far as I could see. I guess that the actors assumed that the art would start when the audience arrived. What is a rehearsal? When does the art start? Does art happen only with an audience present? Is rehearsal a place and time to practice moves or is it a site of collaborative conception? Each artist’s answer to this question reflects distinctly different intentions in the creative process.

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