A'theatre director' or stage director is a professional in the theatre field who oversees and orchestrates the mounting of a theatre production by unifying various endeavors and aspects of production. The director's function is to ensure the quality and completeness of theatre production and to lead the members of the creative team into realizing their artistic vision for it; the director thereby collaborates with a team of creative individuals and other staff, coordinating research, costume design, lighting design, set design, stage combat, sound design for the production. If the production is a new piece of writing or a translation of a play, the director may work with the playwright or a translator. In contemporary theatre, after the playwright, the director is the principle visionary, making decisions on the artistic conception and interpretation of the play and its staging. Different directors occupy different places of authority and responsibility, depending on the structure and philosophy of individual theatre companies.
Directors use a wide variety of techniques and levels of collaboration. In ancient Greece, the birthplace of European drama, the writer bore principal responsibility for the staging of his plays. Actors were semi-professionals, the director oversaw the mounting of plays from the writing process all the way through to their performance acting in them too, as Aeschylus for example did; the author-director would train the chorus, sometimes compose the music, supervise every aspect of production. The fact that the director was called didaskalos, the Greek word for "teacher," indicates that the work of these early directors combined instructing their performers with staging their work. In medieval times, the complexity of vernacular religious drama, with its large scale mystery plays that included crowd scenes and elaborate effects, gave the role of director considerable importance. A miniature by Jean Fouquet from 1460 bears one of the earliest depictions of a director at work. Holding a prompt book, the central figure directs, with the aid of a long stick, the proceedings of the staging of a dramatization of the Martyrdom of Saint Apollonia.
According to Fouquet, the director's tasks included overseeing the erecting of a stage and scenery and directing the actors, addressing the audience at the beginning of each performance and after each intermission. From Renaissance times up until the 19th century, the role of director was carried by the actor-manager; this would be a senior actor in a troupe who took the responsibility for choosing the repertoire of work, staging it and managing the company. This was the case for instance with Commedia dell'Arte companies and English actor-managers like Colley Cibber and David Garrick; the modern theatre director can be said to have originated in the staging of elaborate spectacles of the Meininger Company under George II, Duke of Saxe-Meiningen. The management of large numbers of extras and complex stagecraft matters necessitated an individual to take on the role of overall coordinator; this gave rise to the role of the director in modern theatre, Germany would provide a platform for a generation of emerging visionary theatre directors, such as Erwin Piscator and Max Reinhardt.
Constantin Stanislavski, principally an actor-manager, would set up the Moscow Art Theatre in Russia and emancipate the role of the director as artistic visionary. The French regisseur is sometimes used to mean a stage director, most in ballet. A more common term for theatre director in French is metteur en scène. Post World War II, the actor-manager started to disappear, directing become a fledged artistic activity within the theatre profession; the director originating artistic vision and concept, realizing the staging of a production, became the norm rather than the exception. Great forces in the emancipation of theatre directing as a profession were notable 20th-century theatre directors like Vladimir Nemirovich-Danchenko, Vsevolod Meyerhold, Yevgeny Vakhtangov, Michael Chekhov, Yuri Lyubimov, Orson Welles, Peter Brook, Peter Hall, Bertolt Brecht, Giorgio Strehler and Franco Zeffirelli. A cautionary note was introduced by the famed director Sir Tyrone Guthrie who said "the only way to learn how to direct a play, is... to get a group of actors simple enough to allow you to let you direct them, direct".
A number of seminal works on directing and directors include Toby Cole and Helen Krich's 1972 Directors on Directing: A Sourcebook of the Modern Theatre, Edward Braun's 1982 book The Director and the Stage: From Naturalism to Growtowski and Will's The Director in a Changing Theatre. Because of the late emergence of theatre directing as a performing arts profession when compared with for instance acting or musicianship, a rise of professional vocational training programmes in directing can be seen in the second half of the 20th century. Most European countries nowadays know some form of professional directing training at drama schools or conservatoires, or at universities. In Britain, the tradition that theatre directors emerge from degree courses at the Oxbridge universities has meant that for a long time, professional vocational training did not take place at drama schools or performing arts colleges, although an increase in training programmes f
Elliot Davis is an American cinematographer. Davis graduated from Virginia Tech with a Bachelor of Arts in Architecture and a Master of Fine Arts in Film from UCLA. Davis feels his tenure. Davis began his career in the mid 1970s, acting as cinematographer on the drama Harvest: 3,000 Years, he would act as the camera operator for various films, including Francis Ford Coppola's The Outsiders and Joel Schumacher's St. Elmo's Fire. Davis would collaborate with several directors, including Steven Soderbergh, Catherine Hardwicke are we have nd Jessie Nelson. Davis was the director of photography for Nate Parker's controversial directorial debut The Birth of a Nation. Davis was not familiar with Parker prior to receiving the script, but soon forged a creative connection with him, using films such as The Assassination of Jesse James by the Coward Robert Ford as influence for the look of Nation. Additional works include The Cutting Edge, Father of the Bride Part II, Larger Than Life, Forces of Nature, 40 Days and 40 Nights, White Oleander, Legally Blonde 2: Red, White & Blonde, A Love Song for Bobby Long, The Iron Lady, Man of Tai Chi and the upcoming Above Suspicion.
The Texas Collegiate Hockey Conference is a college ice hockey conference within the American Collegiate Hockey Association that plays at the Division II level. All eight members schools are universities located within the state of Texas; the TCHC was formed in 2016 with the original members consisting of Texas A&M, the University of Texas, the University of Texas at El Paso, Texas State, Texas Christian University, Dallas Baptist University, Texas Tech and the University of North Texas. The conference competes within the ACHA Division II West Region, with the league champion earning an automatic bid to the ACHA championship tournament. North Division South Division American Collegiate Hockey Association