Category Archives: United Stage

Liviu Ciulei and Marlon Brando: Recoiling the Mortal Coil!

The great international stage and screen director and designer, Liviu Ciulei, and the divine stage and screen actor Marlon Brando both share something disturbing as it is true: They both believed in bringing coiled drama into an explosion on the live stage. If the purpose of the Dramatic Arts is irrevocable change, they reasoned, then coiled detritus is the user agent that propels forward the story to the tragic, if not always cathartic, end.

I was fortunate to purchase authentic photographs of both Liviu and Marlon and I appreciate this moment of sharing them with you. Here’s the caption for Liviu’s photo:

International director Liviu Ciulei has been named Artistic Director of The Guthrie Theatre beginning Sept 1. 1980.  The 57-year-old former head of Rumania’s leading repertory theatre, the Lucia Sturdza Bulandra Theatre, has earned an international reputation as a stage and screen director, actor, designer, and architect. His directing and design credits include productions throughout Europe, Great Britain, Australia, Canada and the United States.

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The Tale of the Most Insane Desk Ever: NO DRAWERS ALLOWED!

There once was a rather famous, if old timey, theatrical agent in New York City who had one hard and steadfast rule in his office: No drawers allowed! This no-drawer mandate mainly had to do with desks, but he also included boxes, trash cans and file cabinets in his rage. The rule was incredibly raw, because in those days, The City, and theatrical agencies, ran on paper. There was no digitization. No cloud or computer storage. You Xeroxed and your Faxed and you managed the wood pulp blizzard as best you could.

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A Brand New Boles Book for the Playwright in Society

Yes, today is a Day for Fools — but there’s no joking around that I now have a brand new Boles Book for the Playwright in Society — available for purchase from David Boles Books Writing & Publishing! This Boles Book for… is a thoughtful compilation of a lot of my writing on how the Playwright derives power and structure from the fabric of belonging.

BUY NOW!

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Paul Newman on Swapping Careers at the Yale University School of Drama

Great teacher, friend, mentor and theatre historian, Dr. Howard Stein, shared a story with his Columbia University in the City of New York MFA Playwriting students at the Oscar Hammerstein II Center for Theatre studies.  The topic was eminent actor Paul Newman who was visiting the Yale School of Drama at Howard’s request and he was speaking to the theatre students in a question and answer format. I will share that story with you now.

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New Boles Book: Poetics and the Dramatist

Today, we are pleased to announce the first volume in the new “Boles Books for…” series of learning precis: Poetics and the Dramatist!  This Boles Book will help both the amateur dramatist, and the seasoned professional, learn how to best use Aristotle’s Poetics to build a better dramatic piece!

BUY NOW!

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The Ghost Business: More Adventures in Script Doctoring as The Script Professor

I recently wrote about a fellow who wanted my Script Doctor services via my Script Professor.com website, and the reaction to that poor guy was so fascinating across all my public and private interwebs, that I decided to offer a follow-up to that adventure. When I do script doctoring, or ghost writing, as The Script Professor, anything goes, and by that I mean, I can fix anything written that is broken — and that includes scripts for television, radio, film and books and scholarly papers and anything else that might be in need of pruning or total rehabilitation.

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Does a Play Exist Without Performance?

There’s an old saying in some theatrical circles that a play does not exist unless and until is has been performed on a live stage in front of an audience.  You can imagine the heartache that creates for the amateur, but vigilant, Playwright who writes page after page only to have the work discounted in the end analysis by some because there is no final proof of production to validate the effort.  Is that a right and fair way to deal with a written Art in Performance?  Does the actor exist without being staged?  Does the director have a role without filling an empty space?

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