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Madeline Brownstone

Madeline Brownstone's Public Library

  • We welcome directors at all career levels and from all backgrounds. We are interested in passionate people from varied artistic traditions, and we love directors who come into the Lab thinking they have passion for one kind of theater and then have their course of life slightly diverted in some unexpected way. Our hope is to gather a group of directors who are brave enough to step out of their comfort zone and explore the unknown.

  • I write in longhand, usually on a yellow pad. I write in spurts, an explosion of writing activity that is part of a longer sustained concentration. These spurts generally last twenty minutes. When I’m working on a play, I maintain focus until the next burst of activity. It is an intense and sometimes furious activity. To find yourself there at that moment, in a way that you will never be again, is full of what I call “tremor and trust.” I’ve discovered that I work essentially in collage. Being an admirer of Romare Bearden’s collages, I try to make my plays the equal of his canvases. In creating plays I often use the image of a stewing pot in which I toss various things that I’m going to make use ofa black cat, a garden, a bicycle, a man with a scar on his face, a pregnant woman, a man with a gun. Then I assemble the pieces into a cohesive whole guided by history and anthropology and architecture and my own sense of aesthetic statement.
  • I usually start with a line of dialogue, which contains elements of the plot, character, and the thematic idea. For instance, I started Two Trains Running—“When I left out of Jackson I said I was gonna buy me a V-8 Ford and drive by Mr. Henry Ford’s house and honk the horn. If anybody come to the window I was gonna wave. Then I was going out and buy me a 30.06, come on back to Jackson and drive up to Mr. Stovall’s house and honk the horn. Only this time I wasn’t waving.” That contains the attitude of the character, his approach to the world, and contributes to what became an important element of the play. So I ask myself, Who is talking? Who is he talking to? Who is Stovall? Why does he want to get a gun and go see him, etcetera. In answering the questions the play begins to emerge. Eventually I name the character, decide on a setting, and begin to construct the play in earnest.
  • “A firstrate play exists completely on the page and is never improved by production; it is only proved by production.” Would you agree? 

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  • In this pursuit it is important to remember a well-known fact: the core of our story is not in the events, actions or decisions of our characters. No. The core of out story exists inside the characters – the feelings, emotions, reactions, dreams, dreads, desires and fears. That’s the truth that we pursue. And those are the truths that can emerge unexpected only if we are open, vulnerable and willing to relinquish control.

  • What the script is saying is: “Here is what you will see and here is what you will hear.” That’s it.
  • The Script Is Not The Story


    Whether you’re an actor, writer or director, your job is first and foremost a storyteller. One of the fundamental mistakes actors, writers and directors routinely make is believing the script is the story. Nothing could be further from the truth. The script is not the story. The script is a suggestion of a story, a recording of the character’s public behaviors – what they will allow others to see and hear. The story, the real story, the one you want to tell, the one that holds all the power, lies beneath the script in the subtext, in those private needs, desires, objectives and expectations each character carries inside and is too afraid to expose. Uncover the subtext and the real story will reveal itself. And once you’ve uncovered the real story, your film is on its way from good to great!

  • Stephen Covey’s inspiring book “The Seven Habits of Highly Effective People” his anecdote that defined the difference between being a leader and a manager.
     A Leader is the individual who can take a group of people through a jungle, keep them from harm, stay on the right path, and pursue the goal. The Manager is the one who is sitting high above the jungle and will look down and say, “Good leadership. Wrong jungle.”
  • “How do we direct actors so that they can give more credible, more authentic performances?” For years it seemed like the right path, the right question and I always felt I was getting closer to the goal. But the flaw was in the question itself.
  • Where my real goal was not in the directing of actors, but in the creation and realization of authentic characters with the actors. I was heading toward the wrong goal. Cutting my way through the wrong jungle.

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  • each of these has an ‘authentic’ world within which the story takes place. And we accept that world as being real for the time of the story
  • But, we expect the characters to bring to the story Organic Authenticity.
  • And it is the Organic Authenticity of the characters that keeps us involved in the story, that takes us on the ride.

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  • Now, think for a moment about what he has done. He has written a form of autobiography with himself in it at two different ages, two different sensibilities, one the innocent, the other the wise .. and he puts them into conversation, debate. One trying to teach and inform, the other struggling to comprehend and understand. Do you know of any other book that does this? And, as I said above, in the midst of all of this are these brilliant observations, brilliant insights and stunning discoveries, from BOTH characters. Once again I am totally intimidated.

  • How do you ‘direct’ someone who is attempting to morph themselves into the truth and reality of another human being?

  • propblem
  • in the student

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  • East Irondequoit Middle School

  • IB Mission Statement<!--?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /-->


    The International Baccalaureate aims to develop inquiring, knowledgeable and caring young people who help to create a better and more peaceful world through intercultural understanding and respect.


    To this end the organization works with schools, governments and international organization to develop challenging programs of international education and rigorous assessment.


    These programs encourage students across the world to become active, compassion and lifelong learners who understand that other people, with their differences, can also be right.

  • new course names
  • Band, and
  • In divudals

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    Our Program for Children: The Golden Rule Sunday School, for children from birth through 8th grade, also meets every Sunday from 10:30 a.m. to noon. For more info, contact the Sunday School director at




    Following each Sunday platform is an opportunity for the speaker to answer brief questions from the audience. All the Sunday morning programs at the Ethical Humanist Society of Chicago are free and open to the public.


    Newcomers Chat:
      This week, our Membership Committee invites you to plan on staying for an informal discussion for guests to learn more about the Society, our programs and activities | 12:15 in the Society Library.



    Please plan to stay afterwards for coffee hour -- It is a chance to meet the speaker, to chat with other Meet Up folks and members of the EHSC community.








    All are welcome to our Sunday programs, which are free and open to the public. We are located at 7574 Lincoln Ave. in Skokie, at the corner of Lincoln and Howard.


    Parking is available in our lot or on adjacent streets.






      Coffee photo by Jeremy Nobel (some rights reserved).

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  • P1125
    Throttle Control Motor Circuit.
  • P1130
    Air/Fuel Sensor Circuit Range/Performance. (Bank 1 Sensor 1)
  • P1135
    Air/Fuel Sensor Heater Circuit Response. (Bank 1 Sensor 1)

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  • For example, 1 ounce of almonds contains about 6 grams of protein, 5 grams of total carbs and 3 grams of dietary fiber
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