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Creating Life on Stage: A Director's Approach to Working with Actors
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About the Author
Marshall W. Mason was the founding artistic director for New York's legendary Circle Repertory Company, which The New York Times identified as "the chief source for new American plays." His twelve Broadway productions including Burn This, The Fifth of July, Talley's Folly, As Is, and Knock Knock have earned him five Tony nominations for Best Director. He's won six Obies for his work, and in 1999 he received a Mr. Abbott Special Millennium Award that named him "one of the most innovative and influential directors of the twentieth century."
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Product details
Paperback: 272 pages
Publisher: Heinemann Drama (November 22, 2006)
Language: English
ISBN-10: 9780325009193
ISBN-13: 978-0325009193
ASIN: 0325009198
Product Dimensions:
6 x 0.6 x 9 inches
Shipping Weight: 13.6 ounces (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
9 customer reviews
Amazon Best Sellers Rank:
#1,045,708 in Books (See Top 100 in Books)
Without doubt the most important book on directing since Harold Clurman's seminal On Directing, I found Marshall Mason's Creating Life on Stage both moving and inspiring. When this book was released earlier this year, I was preparing to direct a production of Wilder's "The Matchmaker". I found Mason's insights into the most critical aspect of directing: how to coax the most inspired performance out of an actor truly illuminating.How do we create the most fertile ground for truthful living on stage? In an almost simplistic, highly organized methodology, Marshall Mason lays out a set of tools for us to use. Mason manages to present this material so simply and lucidly, that almost anyone who picks up this book, interested amateur or Broadway veteran will profit from its contents. This is very difficult material to articulate, but he manages to relate concepts of character, behavior, even consciousness and spirituality in a way that is practical and executable on stage.Highly useful for both actors and directors of all levels, it truly is "...utterly invaluable".
A comprehensive and practical book made even better because of the history and experience of its writer. Marshall W. Mason is one of the great directors of the American Theatre and he uses this knowledge to the reader's advantage. The book arrived in good time. Glad to have it.
Great read and methods
I was disappointed in this book, found it hard to read and didactic. I would loved to have heard moreteaching anecdotes/ examples/ real life scenarios.
Marshall Mason is one of the theater's greatest directors. It is an honor to read so many insights from such a gifted artist.
There is no doubt that Marshall Mason is one of the great directors of the past half century. With his new book Creating Life On Stage, he has shown himself to be one of the great teachers of directing as well.Not all great directors make great teachers. And not all great teachers make great directors. I'm too young to have seen Harold Clurman's work, but there seems to be a consensus that his productions did not always meet the standards of his wonderful, seminal book On Directing.Mason's book, written in a clear, often chatty voice, undertakes to describe a system for directors--akin to Stanislavski's for actors--that can reliably clear the way for inspiration and creativity. Mason draws on both his own vast experience and the groundwork set down by other major figures, ranging from Elia Kazan and Sanford Meisner to Anne Bogart.The result is a rich blend of the traditional and the adventurous, drawing on the best of each. He describes how to make effective use of improvisation to stimulate the depths of actors' creativity (explore the history of the play, but don't demand a predetermined conclusion...); as well as innovative techniques such as the baby exercise for lovers (check it out--you'll love it).Nor does he neglect the basics, and even they can have a fresh feel to them. Look for advice on how breaking down a script and constructing a rehearsal schedule can be conduits for inspiration. Even volume notes and tech can make a good story. After shouting several times from the back of the theater "I can't hear you!" during a dress rehearsal an actor shouted back in frustration "F*** you!" To which Mason immediately replied, "THAT I heard!"Most of the book, however, is devoted to creating a rehearsal dynamic that invites the maximum creativity and enthusiasm from designers and actors alike. "We'll try to be something of a family here," he tells his cast, "but our family will be based on mutual respect." He goes on to add, "if we, the artists cannot communicate with each other, how can we hope to communicate with an audience?"Creating Life On Stage is an important and welcome book to any director's library. None that I have seen offers the kind of advice for talking to designers that Mason gives, both practical and rich. It is telling that he calls this section not "working with designers" or "dealing with designers" but rather "stimulating designers." The same holds true for working with playwrights--and if there's one thing Marshall Mason knows, it's how to sustain a successful relationship with a playwright. His fifty-year collaboration with Lanford Wilson is proof enough of that.There are a few times where he seems a bit caught up in the virtues of his approach--telling us in one instance that he thought his production of Private Lives was "much funnier (and more honest) than the acclaimed Broadway production the same year." But this is hardly a flaw--his goal is to help directors create work they can be justifiably proud of.The approach to directing he describes, from choosing a play to "Enduring Opening Night" may just be one man's opinion. But any director would do well to consider his techniques. Perhaps the highest compliment I can pay it is this: I'll be using it.
This book provides complete instructions on how to be an excellent director, from choosing the project to opening night and beyond. Theatergoers with an interest in how a play gets from a script to the performance they see should find the book fascinating. Mr. Mason writes in a gentle, intensely serious, sometimes wry style that is a pleasure to read. Young directors would surely benefit from Mr. Mason's 40-some years of experience in the theater. Actors should find it very interesting to know what a director does before first rehearsal (and it is a lot), and to read in print a description of the sort of direction they know in their hearts they deserve. Mr. Mason touches frequently and perceptively on Stanislavski and has an appendix on Sandy Meisner's teachings (and other illuminating appendices). If you know a young person considering a theater career, this book would be a very useful and supportive gift.
One might think that directing plays was an arcane art for certain geniuses, but as the great Alvina Krause would agree, directing plays is about LIFE and it IS life and therefore this advice about organizing work, interacting with others, managing one's own drive is good advice for anyone. I would particularly recommend it for writers. And especially people who write about the theatre. This is a clear book, not as simple as might seem on first reading, and a joy to read.Mary Scriver
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