This book would not have been possible without the help of others, and the list of those whom I am obligated to is long. It begins with Francis Hodge, whose knowledge of play analysis and directing set standards that in my opinion few teachers have matched. He taught me (among many others) how to think seriously about plays and play production, and his approach to the analytical process has helped to shape the general outline of this book. None of the errors found here should be attributed to him, but most of what is good and useful can be traced to his influence.
Mention should also be made of Anatoly Efros, whose works I have been privileged to translate. As a director and the paradigmatic modern heir of Stanislavsky, Efros’s ...
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