e-book The Director’s Voice: Twenty-One Interviews

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Dubin on directing the cast of Roots: The Next Generations , and on dealing with the subject matter. Advice View Topic Charles S.

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Dubin on summing up his career including proudest achievement, advice, collaborating with writers, mentors, and how he'd like to be remembered. Dubin on directing Twenty One produced by Dan Enright just before the Quiz Show Scandals broke, and on being called to testify about it. Dubin on directing live television in the s. Directors View Profession Charles S. Dubin on his style of directing and how he works with actors.

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Dubin on knowing where to place the camera as a director. Dubin on what makes a good script to direct, and on chemistry and actors. Dubin on directing Omnibus. Dubin on getting into acting, and learning to act and direct from Sanford Meisner, and on appearing as an actor in several Broadway productions. Dubin on directing Dribble , an unsold pilot written by Linda Bloodworth Thomason. Dubin on directing Cinderella , starring Lesley Ann Warren. Robert G. Goldenson Jerry Goldsmith Thomas T. Jon Hamm Earl Hamner, Jr. Kelley Barry Kemp H.

Glen A. Martinelli Leslie H. Miller Newton N. Regis Philbin Frederick S.

Sarnoff William Schallert Edgar J. Smith Gary Smith Howard K. T Donald L. Just as this success settled in, two more announcements occurred that contradicted this very recent progress. Here again is another distinctly African American story to be directed by a white man, Trip Cullam. Cullman had previously directed the play during its successful debut at Manhattan Theatre Club.

Once again, my concern is not with Mr. The same problematic question emerges: Where are the African American directors of color? The next blow came with the announcement from the Michael Jackson Estate and Columbia Live Stage for the development of a musical based on Jackson's life and work. Proposed to hit the boards in , two time Pulitzer Prize winner Lynn Nottage had been engaged to pen the book. Nottage is an excellent choice for a new voice in musical theatre.

The shock came with the listing of the Tony Award winning, concert dance choreographic star Christopher Wheeldon, another white male to direct and choreograph the project. This is insufficient progress. Is this really what artistic inclusion and collaboration has become in our industry? Nottage and Mr. As we are now closing the Broadway theatre season, I reflected back on the Tony Award nominations for Best Choreography in a Musical.

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In truth, my personal thought on this is not in a failed recognition of Ms. Brown operated.

ISBN 13: 9780930452735

African diaspora dance or classical Katherine Dunham technique for theatre which once laid at the very foundation of the American Theatre dance has been absent on the Broadway stage for quite some time. It was not until this year, , that Tony voters were forced to confront and address Ms. A play no less, but her movement vocabulary deeply rooted in African step dance traditions and Dunham Technique is undeniable.

What made her omission more onerous was that the gifted choreographer Christopher Gattelli, a white man, was awarded two nominations. In no way am I discounting Mr. She was nominated for her co-choreographic work with her then husband, Bill Irwin, for her work on Largely New York Farah Khan, a South Asian choreographer, is the first and only one of her ethnicity to ever be nominated for Best Choreography for her work on Bombay Dreams The Tony Awards have been in existence since The paucity of non-white nominations is quite obvious — as glaring as the Oscar Awards of only three years ago where not a single African-American performer was nominated in any of the acting categories, giving rise to the hashtag OscarSoWhite.

Recognizing and rewarding Ms. Given the huge worldwide success of director Des McAnuff and choreographer Sergio Trujillo, it is completely understandable how they would be teamed for this project. Of course Mr. The article was peppered with images of Mr.

Atkins a legendary creative artist working with The Temptations in the studio, yet I believe the article purposely shied away from photos of Mr. Trujillo doing the same.

Lack of Diversity in Theatre's Directors and Choreographers

A careful and clever vehicle to avoid pushback. How can they dodge the delete key? Should they? The best tack, I think, would be to work on the quiet style I was just referring to: style not as rampaging alliteration for example but as expression in subtle deviations from the norm that somehow suit the way you see the world and feel comfortable expressing yourself. What editor would object if you have slightly more parentheses than normal, or your paragraphs are slightly longer than average, or you indulged in a little irony now and then?

All those things can be elements of a style.

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What would you say to those who consider it a misguided practice? Seriously, the single best means of becoming a strong, original writer and mindful writer is to read, as widely as possible.

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When you involve your fingers in the reading, you somehow absorb the words on a deeper level. Their prose is certainly noticeable, filled as it is with cliches of all kinds, mistakes of all kinds, rhythmless sentences and paragraphs, repetition in sentence structure, and unintended word repetition. It has a sound, but it is the sound of fingernails on the blackboard, or, at best, a droning monotone.

Read, read, read. Read silently and read aloud. Copy out what you read.

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And then read some more. Can you describe your latest book project? The answer is yes. I realized that I had given short shrift to a major component of personal style — commitment.