Directing
S. Camphor
Terms related to directing theatre.
| d | v | y | i | p | r | v | t | a | p | a | c | y | l | e | i | i | a | c | p | v | i | s | i | i | l | i | t | i |
| l | d | a | d | l | t | v | n | e | r | n | h | r | s | n | r | w | s | t | a | i | t | t | s | a | t | e | s | r |
| o | g | i | a | r | c | n | o | d | r | o | g | t | a | n | d | r | e | a | n | t | o | i | n | e | u | f | e | g |
| h | n | e | u | n | a | t | i | g | r | w | l | n | a | a | o | r | m | y | e | a | t | i | f | s | x | l | o | l |
| r | t | i | d | e | c | m | t | r | o | t | c | e | r | i | d | i | u | u | t | l | g | d | p | t | i | i | e | c |
| e | y | t | i | l | i | b | a | t | i | u | s | m | s | c | e | u | t | h | g | i | r | w | y | a | l | p | c | c |
| y | s | t | e | c | p | p | n | s | s | s | e | e | e | e | s | t | s | a | r | t | v | c | t | z | s | a | n | c |
| e | p | r | n | y | o | h | i | g | p | c | i | v | n | s | i | g | o | o | l | y | s | i | t | p | c | u | e | i |
| m | s | s | c | g | r | y | g | e | r | v | d | e | g | r | g | o | c | i | e | e | r | l | t | c | e | d | s | f |
| d | u | k | e | o | f | s | a | x | e | m | e | i | n | i | n | g | e | n | s | a | r | n | o | i | f | i | e | i |
| o | g | i | i | l | n | i | m | i | p | c | y | h | d | s | e | i | l | i | b | i | s | n | o | p | s | e | r | c |
| l | i | n | n | o | i | c | i | l | a | c | n | c | t | a | r | e | b | c | s | n | c | a | a | s | s | n | p | e |
| o | c | t | t | h | r | a | e | e | r | e | m | a | e | s | s | s | a | c | a | r | o | n | b | m | t | c | e | p |
| v | n | o | e | c | e | l | a | p | a | l | i | t | r | n | e | k | r | e | e | p | d | s | e | i | u | e | g | s |
| e | i | n | r | y | t | c | t | v | t | n | o | s | l | a | l | r | a | t | i | e | a | e | c | a | d | h | a | t |
| s | n | e | e | s | a | h | p | n | o | i | t | a | t | n | e | m | e | l | p | m | i | u | t | i | e | p | t | l |
| v | w | t | s | p | i | a | e | i | r | c | s | p | t | e | c | p | w | t | o | t | e | e | l | i | n | p | s | o |
| t | r | a | t | e | r | r | t | x | y | l | a | p | a | o | t | g | p | p | n | s | r | n | u | f | t | n | n | y |
| h | f | c | d | c | p | a | l | e | p | u | n | l | i | v | i | s | u | a | l | i | z | a | t | i | o | n | c | c |
| e | o | b | h | n | r | c | t | i | h | e | l | c | t | a | o | y | v | e | e | i | r | t | i | l | f | r | e | l |
| a | i | a | r | e | p | t | t | s | a | c | r | s | a | e | n | p | t | r | v | l | e | o | c | n | l | a | t | s |
| t | y | y | p | i | p | e | t | i | s | c | r | i | t | i | c | v | e | i | o | o | o | o | t | i | i | l | c | n |
| r | i | o | l | d | a | r | t | e | e | e | n | s | e | h | p | h | e | a | l | t | c | h | a | c | f | n | s | a |
| i | o | e | d | u | t | i | t | t | a | l | a | r | e | n | e | g | n | e | s | i | c | a | w | c | e | s | g | i |
| c | a | p | l | a | y | s | e | l | e | c | t | i | o | n | c | y | t | i | l | i | b | a | t | c | e | r | i | d |
| a | c | m | v | n | t | t | t | n | c | p | h | t | e | h | v | e | t | i | q | e | e | a | g | i | e | s | i | c |
| l | e | t | d | e | s | i | g | n | e | r | s | e | s | s | o | r | p | t | i | u | r | s | p | c | v | t | i | d |
| n | t | s | s | e | l | c | l | r | k | o | o | g | r | l | a | c | t | a | b | l | e | s | p | a | c | e | n | g |
| a | b | i | k | o | n | s | t | a | n | t | i | n | s | t | a | n | i | s | l | a | v | s | k | y | c | e | t | e |
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| actable space | actor | Andre Antoine | | apprpriate | artist | audience | | audience interest | audience psychology | capability | | cast | concept | concrete | | cooperation | crew | critic | | designer selection | designers | didaskalos | | directability | director | director interest | | drama | Duke of Saxe Meiningen | evocative | | experience | general attitude | Gordon Craig | | human relations | imagination | implementation phase | | Konstantin Stanislavsky | original | past achievement | | Paul Fort | physical characteristics | play selection | | playwright | preparatory phase | responsibilies | | roles | sensitivity | specific | | stage presence | student of life | suitability | | teacher | theatrical | training | | visualization | vitality | vocal techniques | | Vsevolod Meyerhold | wearable costumes | whole appearance |
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