This souvenir folio features full-color photos from the stunning production as well as piano/vocal arrangements of 9 songs, including: All I Ask of You * Angel of Music * Masquerade * The Music of the Night * The Phantom of the Opera * The Point of No Return * Prima Donna * Think of Me * Wishing You Were Somehow Here Again.

    This is the lavishly illustrated, definitive account of The Phantom of the Opera, tracing the Phantom legend from its origins in historical fact through Gaston Leroux's heartrending classic novel and other artistic incarnations to the present day and Andrew Lloyd Webber's incredibly successful musical.

    Henry III, Time

    Throughout these pages Meisner is delight--always empathizing with his students and urging them onward, provoking emotion, laughter, and growing technical mastery from his charges. With an introduction by Sydney Pollack, director of "Out of Africa" and "Tootsie," who worked with Meisner for five years."This book should be read by anyone who wants to act or even appreciate what acting involves. Like Meisner's way of teaching, it is the straight goods."--Arthur Miller"If there is a key to good acting, this one is it, above all others. Actors, young and not so young, will find inspiration and excitement in this book."--Gregory Peck

    Its eleven "exhibits" undermine black stereotypes old and new, and return to the facts of what being black means. " Mr. Wolfe is the kind of satirist who takes no prisoners. The shackles of the past have been defied by Mr. Wolfe's fearless humor, and it's a most liberating revolt!" - Frank Rich, The New York Times; "Brings forth a bold new voice that is bound to shake up blacks and whites with separate-but-equal impartiality. True satire." - Jack Kroll, Newsweek.

    The remaining four parts contain numerous revisions.Explaining his purpose, Jay O. Glerum points out that four main principles constitute the core of this book: know the rigging system; know that it is in safe working order; know how to use it; keep your concentration. Glerum applies these principles to all the major types of stage rigging systems, including block and tackle, hemp, counterweight, and motorized. He describes each type of rigging and then thoroughly reviews the operating procedures and ways of inspecting existing systems.To provide background, Glerum opens with the basic theory of applied physics as it relates to rigging. Step by step, he explains the calculations required to determine safe working loads for various components. Glerum’s many anecdotes help the reader translate theory into reality.Glerum then turns to four separate and detailed treatments of the main types of theatrical rigging. His thorough descriptions include drawings that identify each separate component of the rigging. He points out the advantages of each system, detailing everything from the mechanical advantage and the effects of wear on rope to the best ways to tie off the pin rail and to store weights. Because stagecraft often has been handed down orally from one stagehand to the next, incorrect—as well as dangerous—assumptions exist in the trade. Glerum provides a ready reference for everything from how to tie a knot to how to effectively communicate a warning for a runaway set.Glerum also discusses special problems such as cutting fiber rope, terminating wire rope, attaching drops and framed scenery, using trusses and bridles, dead hanging, tripping, guiding loads, and other topics. He also covers recordkeeping, with tips and pointers on how to establish an inspection log.

    "Peter Brook is one of the artistic geniuses of our time."--The San Francisco Chronicle¶The first paperback edition of this major collection of essays--the culmination of forty years' work by one of the most thoughtful directors in contemporary theatre.

    In his "mini-manual for actors," Fo lays bare the tools of his craft. With the assistance of his wife, playwright Franca Rame, he explains how text, song, humor, mime and political intelligence can be fused into brilliant "popular theatre."

    Although already an experienced and accomplished artist, he was forced to retrain as an actor under Stanislavski's rigorous guidance. This is Toporkov's account of this learning process, offering an insight into Stanislavski's legendary "system" and his method of rehearsal that became known as the method of physical action. Spanning ten years - from 1928 to 1938 - Toporkov charts the last crucial years of Stanislavski's work as a director. Toporkov reveals Stanislavski as a multi-faceted personality - funny, furious, kind, ruthless, encouraging, exacting - waging war against clich�s and quick answers, inspiring his actors and driving to despair in his pursuit of artistic perfection. Jean Benedetti's new translation of Toporkov's invaluable record restores to us the vitality and insight of Stanislavski's mature thoughts on acting.

    Berry's book will insure that the speaker and the text gets heard - accurately and with true emotional range. Never again will one be accused of simply "reading a prepared statement." Berry's exercises to develop relaxation, breathing and muscular control will literally help everyone breathe easier when confronting the printed page.

    In addition to revising and adding new material which has emerged since the second edition, Gurr develops new sections about points of special interest. Fifty new entries have been added to the list of playgoers and a dozen new quotations about the experience of playgoing. Second Edition Hb (1996): 0-521-58014-5 Second Edition Pb (1996): 0-521-57449-8

    Harold Clurman, director of such memorable productions as A Member of the Wedding and Uncle Vanya, describes the pleasures and perils of working with such celebrated playwrights and actors as Marlon Brando, Arthur Miller, Julie Harris, and Lillian Hellman. He also presents his own directing notes for ten of his best-known productions.

    Paperback edition of the beautifully produced clothbound edition published by BOA Editions ifn 1987. This book reproduces OPERAS & PLAYS as published in the 1932 Plain Edition. The theater of Gertrude Stein is as radical today as it was seventy years ago. These theatrical exercises developed into a dramaturgy stripped bare of the essentials: plot, character development, scenery, stage directions.... Among the modernist writers, Stein remains the last outpost of industrious textual explication -- James R. Mellow (Introduction). Think they are waiting for the approach of their hope that they will be welcome welcomed by a dog and the hope that they will be very welcome when they come. They will be very welcome when they come. They do delight in being welcome. (Say It With Flowers). This book is a necessity for every library, public and private. Among the most important and influential of modern experimental writers of prose and poetry, Gertrude Stein was born in Allegheny, Pennsylvania in 1874, raised in Oakland

    Each of the five volumes contains important songs chosen because of their appropriateness to that particular voice type. All selections are in their authentic form, excerpted from the original vocal scores. The songs in The Singer's Musical Theatre Anthology, written by such noted composers as Kurt Weill, Richard Rodgers, Stephen Sondheim, and Jerome Kern, are vocal masterpieces ideal for the auditioning, practicing or performing vocalists. 46 songs, including: Where Or When * If I Loved You * Goodnight, My Someone * Smoke Gets In Your Eyes * Barbara Song * more.

    The only collection of its kind, this volume includes writings by leading Dadaists: Hugo Ball, Kurt Schwitters, Richard Huelsenbeck, Roger Vitrac, Tristan Tzara, Emmy Hennings, Francis Picabia, and others.

    The world's most trusted source for great theatre literature for singing actors. The book features authentic editions of each song in the original keys. The songs have been carefully chosen for each voice type and are culled from a wide selection of classic and contemporary shows. Contents: ANNIE GET YOUR GUN: I Got the Sun in the Morning, Doin' What Comes Natur'lly * ANYONE CAN WHISTLE: Anyone Can Whistle * BABES IN ARMS: The Lady Is a Tramp * CABARET: Don't Tell Mama, What Would You Do?, Cabaret * CALL ME MADAM: The Hostess with the Mostes' on the Ball * CATS: Memory * CHICAGO: Funny Honey * A CHORUS LINE: Dance: Ten; Looks: Three * CINDERELLA: Stepsisters' Lament * EVITA: Don't Cry for Me Argentina * FINIAN'S RAINBOW: How Are Things in Glocca Morra?, Look to the Rainbow * FLOWER DRUM SONG: I Enjoy Being a Girl * FOLLIES: Broadway Baby, Could I Leave You, In Buddy's Eyes, Losing My Mind * GENTLEMEN PREFER BLONDES: Diamonds Are a Girl's Best Friend, Ain't There Anyone Here for Love? * GODSPELL: Turn Back, O Man * GUYS AND DOLLS: Take Back Your Mink * GYPSY: Some People * HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING: Happy to Keep His Dinner Warm * KISS ME, KATE: Always True to You in My Fashion, Why Can't You Behave? * A LITTLE NIGHT MUSIC: The Miller's Son, Send in the Clowns * OKLAHOMA!: I Cain't Say No * ON A CLEAR DAY YOU CAN SEE FOREVER: He Wasn't You, What Did I Have That I Don't Have? * SOUTH PACIFIC: A Cock-Eyed Optimist, I'm in Love with a Wonderful Guy * SWEENEY TODD: By the Sea, The Worst Pies in London * TWO BY TWO: An Old Man * THE UNSINKABLE MOLLY BROWN: I Ain't Down Yet

    In England his plays were championed by Peter Brook. Antigone is a response to the German occupation of France and established his popularity in 1944 (the Germans ironically, thought that it was a pro-Nazi in its portrayal of King Creon and thus allowed its production); Poor Bitos, Anouilh's angriest play explores the act of judicial murder and The Lark is a version of the Joan of Arc story. All three plays show his fondness for reworking myth, history and legend. Meanwhile Leocadia, about an opera singer who dies after a three day love affair with a prince and The Waltz of the Toreadors, about a general whose mistress attempts to prove his wife's infidelity, represent another talent - for ironic, modern comedy.

    From tiny beginnings in provincial Poland, Grotowski's influence spread to Europe and the United States, fueled first by the international tours of his remarkable company and then by 'paratheatrical' participatory projects which attracted adherents all over the world.This magnificent study of his work remains one of the most important and thorough examinations of the history, theory and post-theatre work of this most influential of theatre practitioners.

    100 full-color photographs.

    This revolutionary theory of acting--developed by Stanislavski and continued by Strasberg--has been a major influence on the art of acting in our time. During his last decade, Strasberg devoted himself to a work that would explain once and for all what The Method was and how it worked, as well as telling the story of its development and of the people involved with it. The result is a masterpiece of wisdom and guidance for anyone involved with the theater in any way."A must for young actors--for old ones, too, for that matter."--Paul Newman"An exploration of the creative process that will reward all who are interested in the nature of inspiration."-- Library Journal "An important cultural document."-- Booklist

    Contains the complete texts of 17 plays and biographical information about ea playwright with a critical appraisal of his works.

    The world's most trusted source for great theatre literature for singing actors. The book features authentic editions of each song in the original keys. The songs have been carefully chosen for each voice type and are culled from a wide selection of classic and contemporary shows. Contents: ANYONE CAN WHISTLE: Everybody Says Don't * BIG RIVER: River in the Rain * CAMELOT: Camelot, C'est Moi, How to Handle a Woman, If Ever I Would Leave You * CAROUSEL: If I Loved You, Soliloquy * CINDERELLA: Ten Minutes Ago, Do I Love You Because You're Beautiful? * COMPANY: Marry Me a Little, Sorry-Grateful * THE FANTASTICKS: Try to Remember * FOLLIES: The Road You Didn't Take * HMS PINAFORE: When I Was a Lad * IOLANTHE: When You're Lying Awake * KISS ME, KATE: Were Thine That Special Face, Where Is the Life that Late I Led? * KNICKERBOCKER HOLIDAY: September Song * LOST IN THE STARS: Lost in the Stars, Thousands of Miles * LOVE LIFE: This Is the Life * MAN OF LA MANCHA: Dulcinea, The Impossible Dream, The Man of La Mancha (I, Don Quixote) * THE MUSIC MAN: Marian the Librarian * OKLAHOMA!: Lonely Room, Oh, What a Beautiful Mornin' * OLIVER!: Reviewing the Situation * PAINT YOUR WAGON: They Call the Wind Maria * THE PIRATES OF PENZANCE: I Am the Very Model * PORGY AND BESS: I Got Plenty O' Nuttin' * SHENANDOAH: I've Heard It All Before, Meditation I, Meditation II * SHOW BOAT: Ol' Man River * SOUTH PACIFIC: Some Enchanted Evening, This Nearly Was Mine * THE THREEPENNY OPERA: Mack the Knife

    The text includes theories on performance as well as examples from the works of Shelley, Ibsen and Pinter. In his new preface, Hornby laments the modernization of classic plays which he believes subverts the original text." -Library Journal

    

    

    Through practical, proven methods, playwright and poet William Packard leads readers past personal and professional obstacles to discover dramatic success.Whether advising readers on the best use of action and on-stage visuals or providing guidelines in effective development of character, dialogue, and plot, The Art of the Playwright offers an insightful and comprehensive introduction to the craft of writing plays. In addition, writers will find an extensive and invaluable listing of theaters, funding sources, writers' colonies, contests, and magazines that publish plays. The book also traces playwriting through the centuries, devoting special attention to the Greek tragedians and the comedies, tragedies, and histories of Shakespeare.

    In 1982, May Appleton, whose son serves in the Falklands, receives the visit that every mother dreads. In 1986, in the Black Forest, a German businesswoman takes into her home a fugitive British Private and his disturbed stepson. Three plays, three encounters. Woven together they reveal an evocative, lyrical and deliciously precise picture of twentieth-century lives.

    It had visual impact so powerful that you were in danger of missing some very good lines simply because nobody spoke them in close up; you had to catch them on the wing. And if there was one line that summed up both Bennett's play and Kafka's novel The Trial, which provided some of this framework, that line was "Just because you're the injured party, it doesn't mean you're not guilty".' GuardianKafka himself figures in these two brilliant scripts: one a hilarious comedy, the other a profound and searching drama. This edition includes an introduction by Alan Bennett.