No one is more excited than Cripple Billy, an unloved boy whose chief occupation has been grazing at cows and yearning for a girl who wants no part of him. For Billy is determined to cross the sea and audition for the Yank. And as news of his audacity ripples through his rumor-starved community, The Cripple of Inishmaan becomes a merciless portrayal of a world so comically cramped and mean-spirited that hope is an affront to its order.

    Here, for the first time in English, and in Lecoq's own words, are his philosophy and his teaching methods - probably the greatest influence on world theatre over the last thirty years. In chapters entitled Personal Journey, The World and its Movements, The Road to Creativity, & New Perspectives, Lecoq sets out his unique architecture of the body in space and explains his most famous techniques such as neutral mask, acrobatics, bouffons and the grotesque and play, and discusses the actor's approach to situation, character, environment, emotion, physical and vocal preparation and of course movement."In life I want students to be alive, and on the stage I want them to be artists." Jacques Lecoq

    In doing so, England's reigning man of letters set in motion a series of events that would culminate in his ruin and imprisonment. For within a year the bewildered Wilde himself was on trial for acts of gross indecency and, implicitly--for a vision of art that outraged Victorian propriety. Expertly interweaving courtroom testimony with excerpts from Wilde's writings and the words of his contemporaries, Gross Indecency unveils its subject in all his genius and human frailty, his age in all its complacency and repression. The result is a play that will be read and studied for decades to come.

    Closer is hailed as one of the best plays of the nineties, and as the London Observer noted, it "has wired itself into the cultural vocabulary in a way that few plays have ever done."

    They sailed far out to sea. The blue one returned to the harbor. The red one sailed home too. But the yellow boat sailed up to the sun." Benjamin always concluded his bedtime ritual by saying, "Mom, you can be the red boat or the blue boat, but I am the yellow boat." This remarkable voyage of Benjamin was extensively developed and widely produced in America for several years, always to ovations. Cast of 4 men and 3 women.THE YELLOW BOAT is based on the true story of David and Sonja Saar's son, Benjamin, who was born with congenital hemophilia, and died in 1987 at the age of 8 of AIDS related complications. A uniquely gifted visual artist, Benjamin's buoyant imagination transformed his physical and emotional pain into a blaze of colors and shapes in his fanciful drawings and paintings. The story of THE YELLOW BOAT Is a glorious affirmation of a child's life, and the strength and courage of all children. Recommended for children of age 8 and older, parents, families and adults.

    Vocal selections from the Tony-winning score by Stephen Flaherty. Titles are: Back to Before * Buffalo Nickel Photoplay, Inc. * Gliding * Goodbye, My Love * Make Them Hear You * New Music * Our Children * Ragtime * Sarah Brown Eyes * Till We Reach That Day * Wheels of a Dream * Your Daddy's Son.

    Though critics reflexively class his work as “magical realism,” Rivera’s extravagant, original imagery always serves to illuminate the gritty realities and touching longings of our daily lives. Also includes: Each Day Dies with Sleep and Cloud Tectonics.

    [MacIvor is a writer with an angular sense of humour and an uncommon knack for probing basic elements and truths of human behaviour." ?Vit Wagner, Toronto StarThis Is a Play is a hilarious postmodern romp through the interior lives of actors in a bad play."Ingenious, whimsical, a lyrical lunacy in the writing, This Is A Play is a theatre experience comedy you might associate with Tom Stoppard." ?Liam Lacey, Globe and Mail

    She touches on every aspect of performance work that involves the voice and sorts through the kinds of vexing problems every performer faces onstage: breath and relaxation; vocal range and power; communication with other actors; singing and acting simultaneously; working on different sized stages and in both large and small auditoriums; approaching the vocal demands of different kinds of scripts. This is the final word on the actor's voice and it's destined to become the classic work on the subject for some time to come.

    An idyllic sort of miserable sort of nightmarish sort of storybook sort of regular sort of a story: a man alone in a room with a mission to tell you something you don't already know.

    From one of America's freshest, most daring, and truly original playwrights! Marked by biting wit, hilarious parody, revealing characters, and a pastiche of pop culture, the plays of Christopher Durang have garnered Obie awards, acclaim, controversy, and a devout following.

    Composers Jerome Kern, George Gershwin, Cole Porter, Richard Rodgers, and theircontemporaries revitalized the musical with the sound of jazz and other new influences. Productions became more elaborate, with dazzling sets, tumultuous choreography, and staging tricks, all woven into tightly constructed story lines. These dramatic changes of the 1920s ushered in the golden ageof the American musical theater. Ethan Mordden captures the excitement and the atmosphere of Broadway during the 1920s in Make Believe. In captivating, lively prose, Mordden describes in superb detail the stars, the songs, the jokes--the sheer fun of this era. Here are shows great, interesting, or even bizarre-- Sally, TheStudent Prince, Rose-Marie, Lady, Be Good!, No, No, Nannette, Rainbow, Good News!, Ziegfeld Follies, The Coconuts, The 5 Oclock Girl, Blossom Time, Whoopee. Early on, the charisma of entertainers such as the bragging Al Jolson (You ain't heard nothin' yet!), the bewitching Marilyn Miller, themadly prancing Eddie Cantor, the unpredictable Gertrude Lawrence, and the indescribable Marx Brothers were the essential element in a hit musical. But, as Mordden demonstrates, the stars lost power and the authors took control, as shows like Desert Song, Peggy-Ann, Strike Up the Band, and SweetAdeline reinvented the old forms. The musical became more adult, too, baiting the censor in the lyrics of Lorenz Hart, Cole Porter, and B. G. DeSylva. And Broadway became more racially integrated, with blackface acts dying out while all-black musicals such as Shuffle Along and the Blackbirdsshows enjoyed mainstream success. Make Believe reaches its climax with Morddens' deep look at Jerome Kern and Oscar Hammerstein's 1927 masterpiece, Show Boat. With its intricate story line spanning four decades, its gala interracial cast, its stunning physical production, its powerful score including Ol' Man River, Bill, Mis'ry's Comin' Aroun', Can't Help Lovin' Dat Man, Life on the Wicked Stage, and Why Do I Love You?, Show Boat was the first American musical universally hailed as a classic. Fusing the decade's developments into one epic show, Kern and Hammerstein created something at once timeless andcontemporary, the ultimate twenties show but, as producer Florenz Ziegfeld called it on the posters, the all American musical comedy.

    They resonate with his trademark themes: East London, storytelling, moments of shocking violence, memories of the past, fantastical monologues, and that strange mix of the barbaric and the beautiful he has made all his own. The Pitchfork Disney was Ridley's first play and is now seen as launching a new generation of playwrights who were unafraid to shock and court controversy.  This unsettling, dreamlike piece has surreal undertones and thematically explores fear, dreams and story-telling.  The Fastest Clock in the Universe is a multi-award-winning play which caused a sensation when it premiered at Hampstead Theatre in 1992.  An edgy and provocative drama, it is now regarded as a contemporary classic. Ghost from a Perfect Place is a scorchingly nasty blend of comedy, spectacle and terror where a monster from the past meets the monsters of the present.

    Based on the film "The Fearless Vampire Killers" by Roman Polanski, and directed by him.

    A compilation of excerpts from reviews of over two hundred productions, including Annie, Barnum, Cabaret, Evita, Godspell, A little night music, Pippin, Sugar babies, and Zorba.

    In True and False David Mamet overturns conventional opinion and tells aspiring actors what they really need to know. He leaves no aspect of acting untouched: how to judge the role, approach the part, work with the playwright; the right way to undertake auditions and the proper approach to agents and the business in general. True and False slaughters a wide range of sacred cows and yet offers an invaluable guide to the acting profession

    17 songs from the 1997 Broadway musical that won five Tony Awards, including Best Musical. Songs include: Autumn * Barrett's Song * Godspeed Titanic (Sail On) * How Did They Build Titanic? * Hymn/Doing the Latest Rag * I Have Danced * I Must Get on That Ship * In Every Age * Lady's Maid * The Night Was Alive * No Moon * The Proposal * Still * There She Is * To Be a Captain * We'll Meet Tomorrow * What a Remarkable Age.

    This title reveals the ideas and personality of this artist.

    By the Spring of 1993, Millennium had come to Broadway and won its highest honor, the Tony Award for Best Play, and the distinguished Pulitzer Prize for drama as well. Through its epic theatrical panorama of the intimate and political dynamics that arise when individuals, histories, and cultures intersect, Millennium captured the imagination and the conscience of all who saw it. Its ability to deeply move the audience in personal, communal, and political ways was admirably (and astoundingly) matched by the subsequent production of the play's second part, Perestroika, which brought Kushner yet another Evening Standard award and Tony Award for Best Play (1994). Tony Kushner has, almost overnight, become the premier American male playwright to "represent" the 1990s, as David Mamet and August Wilson dominated critical attention in the 1980s. The phenomenally positive response to Angels in America was matched by the equally enthusiastic reception of its young, politically engaged playwright, who impressed journalists and scholars with his eloquent intellect, wit, and moral convictions. Kushner spoke for a younger generation of American artists and activists whose art is intimately connected to social vision and "revolutionary" possibilities in the public and private sectors. His role as a generational (read "national," "liberal," "socialist," "Jewish," "queer") spokesman has provided him with a public platform from which to address concerns that lie at the center of national debate. In a short time Kushner has captured and retained a nation's fascination, and his opinions are widely sought out on a wide range of topics. And, most often, the platform from which Kushner expresses his ideas is the personal interview, in which he boldly confronts Americans to rethink, even to reinvent, themselves as the Millennium approaches. Tony Kushner in Conversation is the first book to compile Kushner's most significant interviews of the past decade, tracing his career from its early years to his maturing artistic and political visions. The collection includes pieces that first appeared in an amazingly broad range of periodicals as well as interviews not previously published, such as his appearance on PBS on The Charlie Rose Show. In addition to Angels in America, Tony Kushner is author of Slavs! and is currently finishing work on Henry Box Brown, scheduled to have its world premiere at the Royal National Theatre in the summer of 1997.  Robert Vorlicky is Associate Professor of Drama at Tisch School of the Arts, New York University.

    Pamphlet style (staple bound).

    This is a guide to interactive improvisation comprising a collection of examples, anecdotes and annotated exercises, designed to cover all aspects of this type of theatre, from concept through design and production.

    

    The book is elaborately illustrated, and brings to life the theater's legendary past. The New Amsterdam is celebrating its renewed glory with the premiere run of The Lion King on Broadway.

    This is a hands-on compendium of games and exercises designed to help stimulate creativity, provide reminders of basic craft skills and build strong playwrights.

    Meanwhile, the confining village of Belmont that Portia calls home is populated by hilarious, brazen and cantan-kerous characters. From Portia to her husband, Raphael, to her vicious-tongued octogenarian granny, Blaize, to her loving aunt, the ex-prostitute Maggie-May, Marina Carr's characters are exquisitely drawn and profoundly human.

    Analyzing different instances of injured bodies, Peggy Phelan considers what sustained attention to the affective force of trauma might yield for critical theory. Advocating what she calls "performative writing", she creates an extraordinary fusion of critical and creative thinking which erodes the distinction between art and theory, fact and fiction. The bodies she examines here include Christ's, as represented in Caravaggio's painting The Incredulity of St Thomas, Anita Hill's and Clarence Thomas's bodies as they were performed during the Senate hearings, the disinterred body of the Rose Theatre, exemplary bodies reconstructed through psychoanalytic talking cures, and the filmic bodies created by Tom Joslin, Mark Massi, and Peter Friedman in Silverlake Life: The View From Here. This new work by the highly-acclaimed author of Unmarked makes a stunning advance in performance theory in dialogue with psychoanalysis, queer theory, and cultural studies.

    Both young men have fallen in love with unlikely, and penniless beauties, and both need money to help solve their dilemmas. Scapin knows a good ruse will always win the day and he drafts Sylvestre, Octave's servant, into his schemes. Convincing Sylvestre he's a wonderful actor (and allowing him to build characterizations using movie cliches), Scapin has him play characters who will deceive the family patriarchs into parting with large sums of money. The final scene of the first act is a vaudeville/music hall version of Moli

    It is essential reading for anyone interested in Grotowski's life and work.Edited by the two leading experts on Grotowski, the sourcebook features: *essays from the key performance theorists who worked with Grotowski, including Eugenio Barba, Peter Brook, Jan Kott, Eric Bentley, Harold Clurman, and Charles Marowitz*writings which trace every phase of Grotowski's career from his 'theatre of production' to 'objective drama' and 'art as vehicle'*a wide-ranging collection of Grotowski's own writings, plus an interview with his closest collaborator and 'heir', Thomas Richards*an array of photographs documenting Grotowski and his followers in action*a historical-critical study of Grotowski by Richard Schechner.

    Starting from the premise that death is a historical construct that is differently experienced in every culture, it treats Renaissance tragedy as an instrument for reimagining the human encounter with death. Analyses of major plays by Marlowe, Kyd, Shakespeare, Webster, Middleton, and Ford explore the relation of tragedy to the macabre tradition, to the apocalyptic displays of the anatomy theatre, and to the spectacular arts of funeral.

    The history of lighting design brings the reader a better understanding of the age-old quest for improved lighting on the stage. The section of war stories and interviews with many well-known professionals reveals the joys and tribulations of working in this demanding art.The mechanics section is a survey of the vast range of technical systems that the working designer will need to be familiar with in a theatre.

    This volume collects virtually all of the monologues for women from Shakespeare's 37 plays. Not only actors, but directors and teachers, too, will find this book a treasure trove of the famous soliloquies plus many unfamiliar gems.Arranged alphabetically by play title, the monologues are presented in an actor-friendly format, beginning with a thumbnail sketch of the story's key developments and a streamlined cast of characters. Exhaustive explanatory notes offer up a wealth of helpful tips-from definitions of archaic words and expressions to comments on both setting and accompanying action. Appendixes include a list of the monologues by length and an authoritative guide to pronunciation of names and places-invaluable for experienced actors, absolutely essential for the novice.Whether you're preparing for your first or your fiftieth audition, you won't want to go solo without Shakespeare for One.Newell's companion volume of monologues for men, Shakespeare for One: Men, is also available.

    The critic Harold Bloom has included Kushner's play in his "Western canon" alongside Shakespeare and the Bible, and drama scholar John M. Clum has termed it "a turning point in the history of gay drama, the history of American drama, and of American literary culture." While we might be somewhat wary of the instant canonization that such critical assessments confer, clearly Kushner's play is an important work, honored by the Pulitzer Prize, thought worthy of recognition on "purely aesthetic" grounds at the same time that it has been embraced--and occasionally rejected--for its politics. Kushner's play explicitly positions itself in the current American conflict over identity politics, yet also situates that debate in a broader historical context: the American history of McCarthyism, of immigration and the "melting pot," of westward expansion, and of racist exploitation. Furthermore, the play enters into the politically volatile struggles of the AIDS crisis, struggles themselves interconnected with the politics of sexuality, gender, race, and class. The original essays in Approaching the Millennium explore the complexities of the play and situate it in its particular, conflicted historical moment. The contributors help us understand and appreciate the play as a literary work, as theatrical text, as popular cultural phenomenon, and as political reflection and intervention. Specific topics include how the play thematizes gender and sexuality, race and ethnicity; the postmodern incarnation of the Brechtian epic; AIDS and the landscape of American politics. The range of different international productions of Angels in America provides a rich basis for discussion of its production history, including the linguistic and cultural shifts required in its "translation" from one stage to the next. The last section of Approaching the Millennium includes interviews with Tony Kushner and other key creators and players involved in the original productions of Angels. The interviews explore issues raised earlier in the volume and dialogues between the creative artists who have shaped the play and the critics and "theatricians" engaged in responding to it. Contributors to this volume are Arnold Aronson, Art Borreca, Gregory W. Bredbeck, Michael Cadden, Nicholas de Jongh, Allen J. Frantzen, Stanton B. Garner, Deborah R. Geis, Martin Harries, Steven F. Kruger, James Miller, Framji Minwalla, Donald Pease, Janelle Reinelt, David Román, David Savran, Ron Scapp, and Alisa Solomon. Deborah Geis is Associate Professor of English, Queens College, City University of New York. Steven F. Kruger is Professor and Chair of the Department of English, Queens College, City University of New York.

    Adolf Hitler embodies the most horrific evil imaginable. Lingering together as the last residents of Hell, who will be the last man out? Is it worse to be a morally corrupted person, or one who cannot forgive that person no matter what? Is it possible to forgive without forgetting? Is it possible to forget without forgiving? Philosopher Stephen Vicchio's sometimes disturbing, sometimes humorous, always poignant new play explores the nature and power of forgiveness.

    This publication is a hit! With over 30 great songs in each volume from the stage and movie musicals, it has become indispensible in teaching young singers. There are plot notes included for each song. Hal Leonard has had many, many requests for recorded accompaniments for this 2-book series. This edition includes companion online audio accompaniments for practice. Young Women's Edition includes "Beauty and the Beast," "Diamonds Are a Girl's Best Friend," "I Could Have Danced All Night," "I Have Confidence," "Memory," "My Favorite Things," "On My Own," "Part of Your World," "Sisters," "Think of Me," and more.

    In this title, the author argues that playwrights produce a different conception of Asian-America in accordance with their unique set of sensibilities.

    Interwoven with hundreds of quotations from the author's own in-depth interview series at the Dramatists Guild, in New York City, The Playwright's Process offers a fresh and lively discussion of the indispensable ingredients of strong dramatic writing. Every essential step the writer must take to create a well-written, stageworthy play is examined and explored. Also mining his own experience as a dramatist and a teacher of playwriting, author Buzz McLaughlin details the entire process of developing the kernel of an idea into a fully realized play - from the writer's very first jottings to the readings and workshops that lead to a professional production. A resource for beginning and experienced writers, The Playwright's Process is a virtual guided tour of the dramatist's challenging and often mysterious creative process, chock-full of specific techniques, practical exercises, and candid observations on craft and method straight from the mouths of working, award-winning playwrights.

    In addition to the art and craft of directing, they discuss: multiculturalism; the 'classical' repertoire; theatre companies and institutions; working in a foreign language; opera; Shakespeare; new technologies; the art of acting; design; international festivals; politics and aesthetics; the audience; theatre and society.

    The performances of these groups linked the political, the cultural, and the spiritual, while agitating against the dominant power structure and for the transformation of social and theatrical practices in the U.S. Founded during the Delano Grape Pickers' Strike and Black Power rebellions of the mid-1960s, both El Teatro and the BRT professed cultural pride and group unity as critical corollaries to self-determination and revolutionary social action. Taking It to the Streets compares the performance methodologies, theories, and practices of the two groups, highlighting their cross-cultural commonalties, and providing insights into the complex genre of social protest performance and its interchange with its audience. It examines the ways in which ritual can be seen to operate within the productions of El Teatro and the BRT, uniting audience and performers in subversive, celebratory protest by transforming spectators into active participants within the theater walls --and into revolutionary activists outside. During this critical historical period, these performances not only encouraged community empowerment, but they inculcated a spirit of collective faith and revolutionary optimism. Elam's critical reexamination and recontextualization of the ideologies and practices of El Teatro and the BRT aid in our understanding of contemporary manipulations of identity politics, as well as current strategies for racial representation and cultural resistance."A major contribution to our understanding of how social protest came to be so strong and how Black and Chicano theatre contributed to the synergy of those times." --Janelle Reinelt, University of California, DavisHarry J. Elam, Jr., is Associate Professor of Drama and Director of the Committee on Black Performing Arts, Stanford University.

    In this book Kerry Powell chronicles the development of women's participation in the theater as playwrights, actresses and managers and explores the making of the Victorian actress, gender discourse and playwriting of the period, and the contributions these made to developments in the following century.

    This comprehensive anthology includes a varied selection of plays drawn from the classical period, to support a variety of approaches in teaching drama and theater.

    Deutsch, presents reviews and ratings of 2,000 of the most popular and accessible soundtracks from film, TV, and Broadway shows. Includes a CD sampler of soundtrack hits and 100 sidebars on industry news, trivia, and terminology.

    It also includes good, but over-looked speeches from the more popular plays such as Octavius Caesar from Antony and Cleopatra, Leontes from The Winter's Tale and Buckingham from Richard III. With character descriptions, brief explanations of the context, and notes on obscure words, phrases and references, it is the perfect source for a unique audition.

    These comedies are full of tricksters attempting to gain estates, the emblem and the reality of power in late feudal England. The tricksters appear in a number of guises, such as heroines landing their men, younger brothers seeking estates, or Cavaliers threatened with dispossession. The hybrid nature of these plays has long posed problems for critics, and few studies hav

    Snowdon's photographs capture the reckless, stylish spirit of genius of some of the world's greatest stage actors - Nigel Hawthorne, Peter Ustinov, Fiona Shaw, Ralph Fiennes, Vanessa Redgrave, Helen Mirren, and of course, Laurence Olivier - as well as directors, designers, and writers such as Alan Bennett, Arthur Miller, Harold Pinter, and Alan Ayckbourn. Simon Callow's introduction gives and insider's account of the people and places of the heyday of British theatre, and Snowdon's part in it all.