Under the watchful gaze of his young assistant and the threatening presence of a new generation of artists, Mark Rothko takes on his greatest challenge yet: to create a definitive work for an extraordinary setting.A moving and compelling account of one of the greatest artists of the twentieth century, Mark Rothko, whose struggle to accept his growing riches and praise became his ultimate undoing.

    Looking back, I can find gifts and life lessons in every one.” The legendary Patti LuPone is one of the theatre’s most beloved leading ladies. Now she lays it all bare, sharing the intimate story of her life both onstage and off--through the dizzying highs and darkest lows--with the humor and outspokenness that have become her trademarks.With nearly 100 photographs, including an 8-page four-color insert, and illuminating details about the life of a working actor, from inspired costars and demanding directors to her distinct perspective on how she developed and honed her Tony Award–winning performances, Patti LuPone: A Memoir is as inspirational as it is entertaining. And though the title might say “a memoir,” this is ultimately a love letter to the theatre by a unique American artist.Raised on Long Island’s North Shore, Patti discovered her calling at the age of four and knew that she was destined for the stage. A prodigiously gifted child, she was one of only 36 young actors chosen for the inaugural class of The Juilliard School’s Drama Division, where she fought near-constant criticism from her instructors, and here describes those early years with disarming frankness. From the heady days of her early twenties—crisscrossing the country as a founding member of the classical repertory theatre ensemble, The Acting Company--to her early success on Broadway, her four-year stint as Libby Thacher on the television series Life Goes On, her loving marriage to Matt Johnston, and much, much more, Patti chronicles her professional and personal life with inimitable candor and wit.  With its insightful retrospective of her career-defining turns, both on Broadway and abroad, in Evita, Les Misérables, Anything Goes, Sunset Boulevard, Sweeney Todd, and Gypsy, Patti LuPone: A Memoir reveals the artist’s deeply felt passion for music and the theatre and is, in the end, the compelling and quintessential tale of an exceptional life well lived.

    Four young women – members of the rebel army – are struggling to survive. Yet sometimes, the greatest threat comes not from the enemy, but from the brutality of those on your own side. Winner of the NAACP, Helen Hayes, and Best New Play awards, Eclipsed is a funny, compassionate, and daring new work.

    Hairspray (978-1-5578-3514-7); Rent (978-1-5578-3737-0); Fiddler on the Roof (978-0-8791-0136-7)

    Catherine and her friends are dying, it's true; but theirs is a story of survival in its most transcendent sense, as they refuse to allow the company that stole their health to kill their spirits—or endanger the lives of those who come after them.

    Photographer Sarah was seriously injured while covering the war in Iraq; her reporter partner James had left weeks earlier, when the stress and horrors became too much for him. Now James writes online movie reviews while Sarah recovers, mourning for her Iraqi driver (and former lover) killed in the explosion, and itching to get back behind the camera. With this play—coming to Broadway this winter—Margulies revisits themes of being an artist, as characters ask: What does it mean to capture suffering on film, rather than stopping to intervene?

    To say that dramaturgs are well-rounded is an understatement: those who choose this profession must possess an acute aesthetic sensibility in combination with an extensive knowledge of theater history and practice, world history, and critical theory, and they must be able to collaborate with every member of the creative team and theater administration.Ghost Light is divided into three sections. Part 1, “Philosophy,” describes what dramturgs do, presents a detailed history of dramaturgy, and summarizes many of the critical theories needed to analyze and understand dramatic texts. “Analysis” teaches the two essential skills of a dramaturg: reading and writing. It includes a “12-step program for script analysis” along with suggestions about how to approach various genres and play structures. “Practice,” the third part, delves into the relationships that dramaturgs forge and offers useful advice about collaborating with other artists. It also includes ideas for audience outreach initiatives such as marketing and publicity plans, educational programs, talkbacks, blogs, and program notes and lobby displays, all of which are often the responsibility of the dramaturg.Ghost Light was written with undergraduate students in mind and is perfectly suited for the classroom (each chapter concludes with a series of practical exercises that can be used as course assignments). However, dramaturgy is a skill that is essential to all theater practitioners, not just professional or aspiring dramaturgs, making Ghost Light a valuable addition to all theater libraries.

    But when he meets Sylvia, who is going deaf, he decides he finally wants to be heard. With excoriating dialogue and sharp, compassionate insights, Nina Raine crafts a penetrating play about belonging, family and the limitations of communication.Nominated for both the Olivier and Evening Standard Awards for Best Play, Tribes premiered at the Royal Court Theatre in London in 2011. Under the direction of David Cromer, the comic drama is currently receiving its North American premiere in New York City at Barrow Street Theatre through June 3, 2012.

    It is a stunning document in the history and ongoing practice of Strasberg's Method.Compiled and edited by Lola Cohen, the book is based on unpublished transcripts of Strasberg's own classes on acting, directing and Shakespeare. It recreates his theoretical approach, as well as the practical exercises used by his students, and brilliantly conveys his approach and personality.The book features Strasberg's teachings on:- Training and exercises- Characters and scenes- Directing and the Method- Shakespeare and Stanislavski- The theater, acting and actors.Including a Preface by Anna Strasberg and a Foreword by Martin Sheen, this illuminating book brings the reader closer to Strasberg's own methods than any other, making it a phenomenal resource for students, actors, and directors.

    No longer will you need to comb through old references on hairstyles of different time periods, Wig Making and Styling contains everything you need to be a cut above, offering snippets on styling tools, hair types, wig making and measuring, coloring, cutting, and even creating beards and toupees. Other great features include:-Versatile techniques to create all different historical hairstyles-Tips on altering existing wigs and creating wigs from scratch-Multiple approaches and solutions to solving wig-making problems and needs-Information about the industry, including history and best practicesFull of inspirational and directive photographs, this book will groom anyone from novice to professional stylist into a skilled wig designer.

    

    Drama. Asian American Studies. African American Studies. Women's Studies. Gay, Lesbian and Transgender Studies. With new interest in poetry as a performative art, and with prewar experiments much in mind, the young poets of postwar America infused the stage with the rhythms and shocks of their poetry. From the multidisciplinary nexus of Black Mountain, to the Harvard-based Cambridge Poets Theater, to the West Coast Beats and San Francisco Renaissance, these energies manifested themselves all at once, and through the decades have continued to grow and mutate, innovating a form of writing that defies boundaries of genre. THE KENNING ANTHOLOGY OF POETS THEATER: 1945-1985 documents the emergence, growth, and varied fortunes of the form over decades of American literary history, with a focus on key regional movements. The largest and most comprehensive anthology of its kind yet assembled, the volume collects classics of poets theater as well as rarities long out of print and texts from unpublished manuscripts and archives. It will be an indispensable reference for students of postwar American poetry and avant-garde theater.

    Members of an elite student dining society, the boys are bunkering down for a wild night of debauchery, decadence and good wine. Welcome to the Riot Club.

    Set in September of 1916, the play combines historical fact and legend, exploring the deep-seated Ameri

    Three Plays brings together all this work, including the previously unpublished Daughter of Venus, along with a new introductory essay on political theater, and prefaces to each of the plays.

    Written with clear instructions on How to Play and notes on the Aim of the Game, it covers every aspect of the devising process: creating characters and scenarios, using stimuli, improvising dialogue, structuring the piece, and creating an ensemble.

    Beginning with the scandalous Astor Place Opera House riot of 1849, Larry Stempel traces the growth of musicals from minstrel shows and burlesques, through the golden age of Show Boat and Oklahoma!, to such groundbreaking works as Company and Rent.Stempel describes the Broadway stage with vivid accounts of the performers drawn to it, and detailed portraits of the creators who wrote the music, lyrics, and stories for its shows, both beloved and less well known. But Stempel travels outside the theater doors as well, to illuminate the wider world of musical theater as a living genre shaped by the forces of American history and culture. He reveals not only how musicals entertain their audiences but also how they serve as barometers of social concerns and bearers of cultural values.Showtime is the culmination of decades of painstaking research on a genre whose forms have changed over the course of two centuries. In covering the expansive subject before him, Stempel combines original research—including a kaleidoscope of primary sources and archival holdings—with deft and insightful analysis. The result is nothing short of the most comprehensive, authoritative history of the Broadway musical yet published.

    This collectible piano vocal songbook of the critically acclaimed Broadway show features four pages of full-color photographs and sheet music for all 22 of the show's songs. Titles: American Idiot * Jesus of Suburbia (Jesus of Suburbia, City of the Damned, I Don't Care, Dearly Beloved, Tales of Another Broken Home) * Boulevard of Broken Dreams * Favorite Son * Are We the Waiting * St. Jimmy * Give Me Novacaine * Last of the American Girls/She's a Rebel * Last Night on Earth * Too Much Too Soon * Before the Lobotomy * Extraordinary Girl * When It's Time * Know Your Enemy * 21 Guns * Wake Me Up When September Ends * Whatsername * When It's Time (Bonus Song) * and more.

    Book annotation not available for this title...Title: .The Director's Voice..Author: .Loewith, Jason (EDT)..Publisher: .Consortium Book Sales & Dist..Publication Date: .2012/11/20..Number of Pages: .443..Binding Type: .PAPERBACK..Library of Congress: .

    Popular for his wickedly funny novels, including I’ll Take It and Social Disease, comic screenplays like In & Out and Addams Family Values, and the Augusten Burroughs-like memoir I Shudder, Rudnick remains best known for his cerebral but side-splitting theatrical writing. With echoes of Neil Simon, Thornton Wilder, and Noel Coward, Rudnick plays like I Hate Hamlet, Jeffrey, and The Most Fabulous Story Ever Told are outstanding fixtures of America’s comedic canon.

    The creepy and kooky Addams Family hit Broadway in April 2010 with this musical adaptation of the characters created by cartoonist Charles Addams in his single-panel gag cartoons for The New Yorker starting in 1938. This songbook features piano/vocal arrangements (with the melody in the piano part) for 14 musical numbers from the Tony Award-nominated show: The Addams Family Theme * Crazier Than You * Happy/Sad * In the Arms * Just Around the Corner * Let's Not Talk About Anything Else but Love * Live Before We Die * The Moon and Me * Morticia * One Normal Night * Pulled * Waiting * What If * When You're an Addams.

    Includes stories from Brian Cox, Judi Dench, Ralph Fiennes, Rebecca Hall, Derek Jacobi, Jude Law, Adrian Lester, Ian McKellen, Helen Mirren, Tim Pigott-Smith, Kevin Spacey, Patrick Stewart, and Penelope Wilton.

    This stand-out book features over 200 4/c photographs and a stunning removable poster.

    Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: The Pillowman, the Lieutenant of Inishmore, the Lonesome West, the Beauty Queen of Leenane, the Cripple of Inishmaan, a Behanding in Spokane. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: The Pillowman is a 2003 play by Irish playwright Martin McDonagh. A black comedy, it tells the tale of Katurian, a fiction writer living in a police state who is interrogated about the gruesome content of his short stories, and their similarities to a number of bizarre child murders occurring in his town. The play received the 2004 Olivier Award for Best New Play, the 2004-5 New York Drama Critics' Circle Award for Best New Foreign Play, and two Tony Awards for production. It was nominated for the 2004 Evening Standard Award for Best New Play. Katurian, a writer of grisly short stories often showing violence against children, has been arrested by two detectives, Ariel and Tupolski, because some of his stories resemble recent child murders. When he hears that his brother Michal has confessed to the murders and implicated Katurian, he resigns himself to his execution but attempts to save his stories from destruction. The play includes both narrations and reenactments of several of Katurian's stories, most notably the autobiographical "The Writer and the Writer's Brother," which tells how Katurian developed his disturbed imagination by hearing the sounds of Michal being tortured by their parents. Katurian A writer of gruesome short stories often involving children. His disturbed imagination was the result of having heard his brother being abused when they were younger. Consequently he killed his parents and looked after his brother. He is shocked by his arrest. Michal Katurian's brother, who is "slow to get things" following his years of abuse at ...More: http: //booksllc.net/?id=210952

    But when a domestic disturbance call takes a turn for the worse, their friendship is put on the line. The result is a difficult journey into a moral gray area where trust and loyalty struggle for survival against a sobering backdrop of pimps, prostitutes, and criminal lowlifes.A dark duologue filled with sharp storytelling and biting repartee, A Steady Rain explores the complexities of a lifelong bond tainted by domestic affairs, violence, and the rough streets of Chicago.

    Montgomery. Based on the sequel novels to Anne of Green Gables, this new Canadian musical continues the story of Anne Shirley's life. Set in the village of Avonlea and at Redmond College in Halifax, Anne and Gilbert follows Anne's journey to young adulthood and her romance with high school academic rival, Gilbert Blythe.

    Joseph Urban (1872–1933) began his career as an architect and artist in Vienna before moving to America in 1911. In 1914 he moved to New York, where he ultimately signed on as set designer of the Metropolitan Opera. He also became immersed in an astonishing array of outside projects, designing nightclubs, hotel lounges, skyscrapers, theaters, stage and film sets, and even children’s books. Though his creative output was immense, little remains of his work except the Mar-a-Lago in Palm Beach, and the New School and the base of the Hearst Tower in New York. Praise for Joseph Urban:"a trove of his luminous renderings and photos" --Elle Décor

      One of Shakespeare’s greatest and most popular plays, The Tempest begs to be visualized by a master filmmaker. Taymor’s definitive film version combines romance and tragicomedy in one powerful story. She uses all of her considerable storytelling skills to make the action and atmosphere of the play come vividly to life. With an artist’s touch, she combines extraordinary locations with experimental visual effects to create the magic that suffuses this great work.

    In the campy and carnivalesque Dreamplay, history is turned upside-down as a goddess travels through time to ‘save gay men from themselves’. In Landmarks, geography takes centrestage, as eight short plays explore the spaces that have been claimed, colonised, and trespassed by those at the margins of the mainstream. In Happy Endings, the playwright’s adaptation of the novel Peculiar Chris evolves into a meditation on the relationship between life and literature. With clear-eyed compassion and eloquent outrage, this collection of plays charts the coming-of-age of a community finding its voice.

    Substantial introductions from experts in the field also provide these sections with an overview of the works and their significance.The works span:Naturalism and SymbolismThe Historical Avant-GardeEarly Political TheatreThe Performance of IdeologyContemporary PerformanceThis textbook provides an unprecedented collection of comprehensive resource materials which will facilitate in-depth critical analysis. It enables a dialogue between Chekhov, Strindberg, Lorca, Marinetti and Artaud, Brecht, Churchill, Fornes, Ravenhill and G�mez-Peňa, amongst many other key practitioners.

    Yet there are relatively few books on the subject, and almost none for a general audience that combine expansive scholarship with lavish design. Making the Scene offers an unprecedented survey of the evolving context, theory, and practice of scene design from ancient Greek times to the present, coauthored by the world’s best-known authority on the subject and enhanced by three hundred full-color illustrations. Individual chapters of the book focus on Greece, Rome, Medieval Europe (including liturgical drama, street pageants, festival outdoor drama, Spanish religious drama, and royal entries), the Italian Renaissance, eighteenth-century Europe, Classicism to Romanticism, Realism and Naturalism, Modernism, and contemporary scene design. Making the Scene’s authors review everything from the effects of social status on theatre design to the sea changes between Classicism, Romanticism, and Naturalism and the influence of perspective-based thought. Particularly intriguing is their rediscovery of lost tricks and techniques, from the classical deus ex machina and special effects in coliseums to medieval roving stage wagons and the floating ships of the Renaissance to the computerized practices of today’s theatres. Such ingenious techniques, interwoven with the sweeping beauty of scene design through the ages, combine with the keen scholarship of Oscar Brockett and Margaret Mitchell to create a book as involving as the art it showcases.

    Russia's preeminent playwright, he played a significant role in revolutionizing the modern theatre. His impact on prose fiction writing is incalculable: he helped define the modern short story. Beginning with an engaging account of Chekhov's life and cultural context in nineteenth-century Russia, this book introduces the reader to this fascinating and complex personality. Unlike much criticism of Chekhov, it includes detailed discussions of both his fiction and his plays. The Introduction traces his concise, impressionistic prose style from early comic sketches to mature works such as 'Ward No. 6' and 'In the Ravine'. Examining Chekhov's development as a dramatist, the book considers his one-act vaudevilles and early works, while providing a detailed, act-by-act analysis of the masterpieces on which his reputation rests: The Seagull, Uncle Vanya, Three Sisters and The Cherry Orchard.

    This selection of his seminal texts in drama education over the last twenty five years shows how Neelands developed classroom participatory democracy through ensemble based theatre education. They feature: * Neelands' development in the 1980s of the conventions approach which made Dorothy Heathcote's and Gavin Bolton's -living through drama- more accessible to classroom teachers and which has come to dominate drama curricula across the globe* his defence-along with Cecily O'Neill-of progressive drama education against the challenge by David Hornbrook and Peter Abbs in the early 1990s* his passionate arguments for drama as both pedagogy and discipline* his criticism of the privileging of high art over popular art* his call for theatre education which is both presentational and representational, and for drama's place within the English rather than the arts curriculum* his response to 9/11: that drama is crucial in an age of uncertainty and intolerance: the humanizing and democratizing principles that define drama in education are a potent challenge to extremism* his argument that ensemble-based theatre education allows young people to learn to act upon the world and bring about real change

    Author Nick O'Brien makes this cornerstone of acting accessible to teachers and students alike.This is an exercise book for students and a lesson planner for teachers on syllabi from Edexcel, WJEC and AQA to the practice-based requirements of BTEC. Each element of the System is covered practically through studio exercises and jargon-free discussion.Over a decade's experience of acting and teaching makes O'Brien perfectly placed to advise anyone wanting to understand or apply Stanislavski's system.Features include:Practical extension work for students to take away from the lessonNotes for teachers on how to use material with different age groupsExam tips for students based on specific syllabi requirementsA chapter dedicated to using Stanislavski when rehearsing a textA glossary of terms that students of the System will encounter

    Set in September of 1916, the play combines historical fact and legend, exploring the deep-seated American craving for spectacle, violence and revenge. This abridged ve

    Interest is growing in the educational, emotional and expressive benefits of theatre for young people; arguments about why children should watch theatre have become a central motif in debates about cultural policy and arts education. Yet, surprisingly, there has been almost no detailed and reflective research on these matters. While young children (aged 4-11) are increasingly provided for in terms of tailored theatre performances, the nature of children's theatrical perceptions and their experiences of being in an audience has scarcely been investigated.This book uses innovative visual-arts based audience research, practitioner interviews and contextual analysis to fill this gap in research and explore the nature of young children's experiences of live theatre. It investigates three primary areas: * the cultural policy, educational and creative contexts in which theatre for children is made* children's aesthetic experiences of theatre* the approaches through which children's engagement with theatre can be enhanced, extended and deepened

    The beginning of another fall semester at the University of Wittenberg finds certain members of the faculty and student body at personal and professional crossroads. Hamlet (senior, class of 1518) is returning from a summer in Poland spent studying astronomy, where he has come in contact with a revolutionary scientific theory that threatens the very order of the universe, resulting in psychic trauma and a crisis of faith for him. His teacher and mentor John Faustus (professor, philosophy) has decided at long last to make an honest woman of his paramour, Helen, a former nun who is now one of the Continent's most sought-after courtesans. And Faustus' colleague and Hamlet's instructor and priest, Martin Luther (professor, theology), is dealing with the spiritual and medical consequences of his long-simmering outrage at certain abusive practices of the Church the same Church to which he has sworn undying obedience. How these three men's sagas overlap and intertwine and how they end up irrevocably affecting the course of each other's lives is the substance of WITTENBERG, a comedy that reveals the story behind the stories of Hamlet, Doctor Faustus and the Protestant Reformation.

    She examines the work of internationally acclaimed UK and US experimental theatre companies Forced Entertainment, Goat Island and Elevator Repair Service, addressing accepted narratives about artistic and cultural value in contemporary theatre-making. Her discussion draws on examples where misfire, the accidental and the intentionally amateur challenge our perception of skill and virtuosity in such diverse modes of performance as slapstick and punk.Detailed rehearsal and performance analysis are used to engage theory and contextualise practice, extending the dialogue between theatre arts, live art and postmodern dance. The result is a critical account of performance theatre that offers essential reading for practitioners, scholars and students of Performance, Theatre and Dance Studies.

    Two cities swept up in revolution. One last chance for a man to redeem his wasted life and change the world. Based on Charles Dickens' masterpiece, A Tale of Two Cities is a musical that focuses on the love triangle between young beauty Lucie Manette, French aristocrat Charles Darnay and drunken English cynic Sydney Carton - all caught in the clutches of the bloody French Revolution. Fresh off its Broadway run, A Tale of Two Cities is the perfect addition to any theatre's season! Appropriate for all ages and audiences, this classic story of love, revolution, and redemption is what the Associated Press called, "the return to the era of big blockbusters such as Les Miserables, Phantom, and Miss Saigon." Samuel French is excited to release the acting edition, available later this year "A Broadway must see!

    We can think of ourselves as the main character in our own story. Author Peggy Rubin brilliantly uses traditional theatre as a metaphor for living life more authentically and joyfully. To understand our lives as a sacred art form, Rubin traces the roots of theatre to ancient rituals that celebrated the eternal nature of the soul. She provides the tools to tap into the nine powers of sacred theatre so that our lives can resonate with our highest purpose, including The Power of Incarnation, The Power of Story, The Power of Place, The Power of Now, The Power of Expression, The Power of Point of View, The Power of Conflict, The Power of Audience, and The Power of Celebration. "Playing the play of life is a daring adventure," says Rubin. "It takes courage, focus, excitement, and intention to stop just letting our stories happen and instead enact them with verve and delight." Here she invites readers to take the stage of life and play their story for all it is worth.

    The new musical comedy about everyone's favorite creepy, kooky family.

    At the same time, LEND ME A TENOR is about the encouragement of youth by their natural heroes, who are ironically, usually of their parents generations. MOON OVER BUFFALO is about second chances and about the courage that is needed to take a second chance. LEADING LADIES continues the theme of second chance, issues of compromise and social barriers. SHAKESPEARE IN HOLLYWOOD has a whole different set of concerns. It is about falling in love and dreaming. It is about myth and magic. It is about a time in our history when censorship took on frightening proportions both in the world of film and the world at large.

    9 to 5 The Musical is based on the hit 1980 movie. Featuring music and lyrics by Dolly Parton, the stage production premiered in Los Angeles in September 2008 and opened on Broadway in April 2009. It was nominated for 15 Drama Desk Awards and 4 Tony Awards. Our songbook presents a dozen songs (vocal lines with piano accompaniment), and fantastic full-color photos! Includes the title song and: Around Here * Backwoods Barbie * Change It * 5 to 9 * Get Out and Stay Out * Here for You * I Just Might * Let Love Grow * One of the Boys * Shine like the Sun.

    Ideal for actors of all ages and experience. Also includes uniquely formatted summarizations to each piece.

    Besides ably retelling the legend, he has created roles that challenge and reinvent the myth. Includes a wise-cracking, superior swords person in Marian, and a Robin who only by chance finds himself a hero. But true to the legend, of course, all ends well:

    Based on the short story by Michael Crummey, Afterimage explores the connections built within both family and community.

    The anthology includes plays, experimental performance documentation, and a visual essay that reveal the impassioned creativity thatilluminates and invigorates the margins of culture.

    Book annotation not available for this title.Title: GoldfishAuthor: Kolvenbach, JohnPublisher: Dramatist's Play ServicePublication Date: 2010/03/31Number of Pages: 56Binding Type: PAPERBACKLibrary of Congress:

    Edgar leads the audience up to the final roo, his own, at the top of the derelict stairs, wherein lie the secrets of his family and the unbelievable odyssey that brought him there.

    The book provides the techniques, exercises and language that promote collaborative skills. Working collaboratively is vital to successful theatre making. This readable and practical guide, written by leading author Robert Cohen, provides advice on how successful collaboration can be achieved. Exploring collaboration between a range of theatre artists from Directors to Designers, from Actors to Dramaturgs, Cohen draws on a wide-range of historical context and examples from contemporary professional practice. Part One is introductory, providing a general overview of the relationship of collaboration and leadership in the theatre and the first rule of theatrical collaboration. Part Two divides theatrical collaboration into four overlapping stages and discusses the means of achieving effective communication at every level.With activities for classroom use, this book will be essential reading for Theatre students and professionals.

    Following the ninety games and exercises aimed at developing core skills, the book offers scenarios for a series of improvisational challenges that test participants' abilities in mediation, communication, negotiation, assertiveness, and managing emotions.

     Drawing on extensive research in the Rodgers and the Hammerstein papers, including Hammerstein's personal notes on James A. Michener's Tales of the South Pacific, Jim Lovensheimer offers a fascinating reading of South Pacific that explores the show's complex messages and demonstrates how thepresentation of those messages changed throughout the creative process. Indeed, the author shows how Rodgers and especially Hammerstein continually refined and softened the theme of racial intolerance until it was more acceptable to mainstream Broadway audiences. Likewise, Lovensheimer describes thetreatment of gender and colonialism in the musical, tracing how it both reflected and challenged early Cold War Era American norms. The book also offers valuable background to the writing of South Pacific, exploring the earlier careers of both Rodgers and Hammerstein, showing how they frequentlyexplored serious social issues in their other works, and discussing their involvement in the political movements of their day, such as Hammerstein's founding membership in the Hollywood Anti-Nazi League. Finally, the book features many wonderful appendices, including two that compare the originaldraft and final form of the classic songs I'm Gonna Wash That Man Right Out-a My Hair and I'm In Love With a Wonderful Guy. Thoroughly researched and compellingly written, this superb book offers a rich, intriguing portrait of a Broadway masterpiece and the era in which it was created.

    As an actress, I am both myself and the character I am playing. I exist in the concreteness of the performance and, at the same time, I need to be alive in the minds and senses of the spectators. How can I speak of this double reality?’ – Julia VarleyThis is a book about the experience of being an actress from a professional and female perspective. Julia Varley has been a member of Odin Teatret for over thirty years, and Notes from an Odin Actress is a personal account of her work with Eugenio Barba and this world-renowned theatre company.This is a unique window onto the in-depth exercises and day-to-day processes of an Odin member. It is a journal to enlighten anyone interested in the performances, the discoveries and the hard physical work that accompany a life in theatre.

    Primarily comprising works from the People's Republic of China, though including representative plays from Hong Kong and Taiwan, this collection not only showcases the revolutionary rethinking of Chinese theater and performance that began in the late Qing dynasty. It also highlights the formation of Chinese national and gender identities during a period of tremendous social and political change, along with the genesis of contemporary attitudes toward the West.Early twentieth-century Chinese drama embodies the uncertainty and anxiety brought on by modernism, socialism, political conflict, and war. After 1949, PRC theater painted a complex portrait of the rise of communism in China, with the ideals of Chinese socialism juxtaposed against the sacrifices made for a new society. The Cultural Revolution promoted a "model theater" cultivated from the achievements of earlier, leftist spoken drama, even though this theater arose from the destruction of old culture. Post-Mao drama addresses the socialist legacy and the attempts of a wounded nation to reexamine its cultural roots. Taiwan's spoken drama synthesizes regional and foreign traditions, and Hong Kong's spoken drama sparkles as a hybrid of Chinese and Western influences. Immensely valuable for cross-disciplinary, comparative, and performance study, this anthology provides essential perspective on China's theatricality and representation of political life.

    Edited by Davey Morrison, himself a playwright, this collection includes work by such playwrights as veteran Eric Samuelsen, and award winners Melissa Leilani Larson and James Goldberg. New Play Project is a non-profit theater company that, in four years, has produced hundreds of new works with the help of several hundred volunteers. It has become an important part of the community of Mormon arts, and an important part of the Utah County theater community at large.

    Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Fat Pig, in the Company of Men, Bash: Latter-Day Plays, Reasons to Be Pretty, the Mercy Seat, This Is How It Goes, Some Girl(s), Wrecks, in a Dark Dark House. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: Fat Pig is an American play. Fat Pig tells us the story of Tom, a thirty-something, in shape, stereotypical professional in a large city, who falls for a very plus-size librarian named Helen. They meet in a crowded cafeteria at lunchtime and get to talking. Tom is taken with her brash acceptance of the way people see her and her honesty. He asks her for her number and they start to date. A couple weeks Carter, Toms best friend, starts to notice the signs of Tom having a new girlfriend. He obnoxiously pesters him for information about the new girl and in order to get it mentions it in front of a woman from accounting, Jeannie, who has been seeing Tom on-and-off for a while. She gets very upset which gets Tom to admit that he is sort of seeing her. Carter asks Tom what he is doing that night, and Tom says he is busy. Carter knows then that he is meeting Helen at a restaurant Tom frequents, Tom denies it and says it is a business dinner with people from the Chicago branch of their firm. Carter, not believing him, stops by the restaurant and sees them together. He approaches them and introduces himself to Helen, and she excuses herself to go to the restroom. While she is gone Carter thoroughly insults her weight and calling her a lot of horrible things, not knowing that this is Toms new girlfriend. He assumes then that Tom was telling the truth about the people coming in from Chicago, since he thought that Tom would never date anyone that fat. Later that week Jeannie pays a visit to Tom in his office. She has found out that no peop...More: http: //booksllc.net/?id=808369

    While pits close and dole queues grow, a couple of runaways find Heaven in 1980s London. And today the paparazzi chase a love story that could tear a family apart. Then a grieving mother gets lost up a mountain, with a vicar for some dubious consolation.With a unique richness of texture and range, Canary combines pathos and humor with a wildly ambitious scope crossing decades through cyclical family histories. The diverse character list includes a primetime TV host, Queen Isabella, Eleanor Rigby, an 'aversion therary' doctor, Mary Whitehouse and striking miners. Skillfully pulling these wide-ranging threads together, Canary provides a social overview of Britain during the last 50 years, with a focus on the struggle against homophobia. Jonathan Harvey's trademark style of warmth, poignancy, humor and imagination is obvious in this epic, Liverpudlian Angels in America for the 21st century.

    Originally published by Fourth Estate in 1996, when it was short-listed for the Whitbread Prize.

    S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging.Carolyn Williams underscores Gilbert and Sullivan's creative and acute understanding of cultural formations. Her unique perspective shows how anxiety drives the troubled mind in the Lord Chancellor's "Nightmare Song" in Iolanthe and is vividly realized in the sexual and economic phrasing of the song's patter lyrics. The modern body appears automated and performative in the "Junction Song" in Thespis, anticipating Charlie Chaplin's factory worker in Modern Times. Williams also illuminates the use of magic in The Sorcerer, the parody of nautical melodrama in H.M.S. Pinafore, the ridicule of Victorian aesthetic and idyllic poetry in Patience, the autoethnography of The Mikado, the role of gender in Trial by Jury, and the theme of illegitimacy in The Pirates of Penzance. With her provocative reinterpretation of these artists and their work, Williams recasts our understanding of creativity in the late nineteenth century.

    Adapted by Eric Coble from the Newbery Award-winning book by Lois Lowry.Cast: 4m., 4w., extras as desired or 4m., 2w. with doubling, extras as desired.Jonas' world is perfect. Everything is under control and safe. There is no war or fear or pain. There are also no choices. Every person is assigned a role in the community. But when Jonas turns 12, he is chosen for special training from The Giver—to receive and keep the memories of the community. The Giver is the only person who holds the memories of real pain and real joy. Now Jonas will learn the truth about life—and the hypocrisy of his utopian world. Through this astonishing and moving adaptation, discover what it means to grow up, to grow wise, and to take control of your own destiny. The Giver was commissioned by Oregon Children's Theatre and has played to sold-out audiences at such theatres as Oregon Children's Theatre, First Stage Milwaukee, The Coterie Theatre, People's Light and Theatre Company, Dallas Children's Theater, Stages Repertory, Nashville Children's Theatre, Lexington Children's Theatre, Asolo Repertory Theatre, Florida Repertory Theatre, and Indiana Repertory Theatre. Unit set. Approximate running time: 70 minutes.

    The author understands the pressures of the beginning stage manager and proceeds to calm those fears in a no-nonsense handbook. This "survival guide" gives detailed descriptions or examples of all the forms and lists the stage manager must use in production. An essential read for the novice stage manager in high school, college or community theatre.About the AuthorMary Ellen Allison is a working stage manager with over thirty years of professional experience from Broadway to community theatre. Her credits include shows with award-winning theatre artists, such as: Horton Foote, Jean Stapleton, Allison Janney, Jim Dale, Andrew Lippa, and Frank Langella. She teaches stage management at Ramapo College of New Jersey and was named to Who's Who Among America's Teachers, 2003-2004.

    In the ensuing eleven chapters, eleven different writer-observers describe, contextualize and analyze the theatre-making practices of eleven different companies and directors, including Japan’s Gekidan Kaitaisha and the Québécois director Robert Lepage. Each chapter is enriched with extensive illustrations as well as boxed-off "asides," giving the reader different perspectives on the work. Chapters usually focus on a single production, such as Complicite’s 2003-04 The Elephant Vanishes, allowing detailed investigations of complex practices to emerge. The book concludes with a brief manifesto for making contemporary theatre by the editors, plus a bibliography suggesting further reading. Making contemporary theatre is a rich resource for the theatre-making student and the theatre--goer alike, full of diverse examples of how the most exciting theatre is actually made.

    Each is prefaced with an easy-to-use guide to who is speaking, where, when, and to whom; what has just happened in the play; and what the character’s objectives are. In fact, it contains everything the actor needs to know before embarking on the audition!

    Two couples are on the verge of parting. A woman tries to save her family, while a girl tries to save her future. Seemingly above it all is the loveliest and loneliest of all women, the great Garbo. But when the gods arrive, they can cause havoc, not least to themselves, as the divine Greta is to learn.Frank McGuinness's Greta Garbo Came to Donegal premiered at the Tricycle Theatre, London, in January, 2010.

    Spanning six decades, works by 35 artists and filmmakers propose a rich history of pairing dance and the camera. In video dances made by Merce Cunningham and Charles Atlas choreography is designed for the camera's frame. The camera allows close-ups that bring us in proximity to the dance as in works by artists such as Tacita Dean, Maya Deren and Joachim Koester. Photographic series by Kelly Nipper, Christopher Williams and Elad Lassry freeze time while expanding the notion of dance as a time-based medium. Editing techniques conjure dances impossible in real time in works by Eleanor Antin, Oliver Herring and Bruce Conner.

    As the trial progesses, mayhem and silliness are abound with bits, songs, and scenes equal parts Vaudeville and Bard. A "load of laughs" (Chicago Sun Times, highly reccomended), The People Vs. Friar Laurence: The Man who Killed Romeo and Juilet is sure to leave both Shakespeare scholars and low-brow humorists rolling in the aisles! "Hysterical-West and Swann have shrouded the tale with witty story devices and a bright cloak of catchy songs that add to the ribald humor while moving the story along in the best traditions of musical theatre." -Chicago Sun Times

    It is an intriguing rainbow of thought, celebrating a journey across three fields of scholarship: theatre, education and modes of knowing. Hitherto no other collection of key concepts has been published in theatre /drama education. Fifty seven entries, written by sixty scholars from across the world aim to convey the zeitgeist of the field. The book's key innovation lies in its method of writing, through collaborative networking, an open peer-review process, and meaning-making involving all contributors. Within the framework of key-concept entries, readers will find valuable judgments and the viewpoints of researchers from North and South America, Europe, Asia, Africa, New Zealand and Australia. The volume clearly shows that drama/theatre educators and researchers have created a language, with its own grammar and lucid syntax. The concepts outlined convey the current knowledge of scholars, highlighting what they consider significant. Entries cover interdependent topics on teaching and learning, aesthetics and ethics, curricula and history, culture and community, various populations and their needs, theatre for young people, digital technology, narrative and pedagogy, research methods, Shakespeare and Brecht, other various modes of theatre and the education of theatre teachers.

    modern dance history. Moving beyond the acknowledgement that modern dance has its roots in Orientalist appropriation, Yutian Wong considers the effect that invisible Orientalism has on the reception of work by Asian American choreographers and the conceptualization of Asian American performance as a category. Drawing on ethnographic and choreographic research methods, the author follows the work of Club O' Noodles--a Vietnamese American performance ensemble--to understand how Asian American artists respond to competing narratives of representation, aesthetics, and social activism that often frame the production of Asian American performance.

    Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: The Effect of Gamma Rays on Man-In-The-Moon Marigolds, the Pigman, and Miss Reardon Drinks a Little, the Pigman's Legacy, Reef of Death, Pardon Me, You're Stepping on My Eyeball , My Darling, My Hamburger, Confessions of a Teenage Baboon, Amulets Against the Dragon Forces. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: The Effect of Gamma Rays on Man-in-the-Moon Marigolds is a 1964 play written by Paul Zindel, a playwright and science teacher. Zindel received the 1971 Pulitzer Prize for Drama and a New York Drama Critics' Circle Award for the work. The play's world premiere was staged in 1964 at the Alley Theatre in Houston, after which it premiered in New York City Off Broadway. It was adapted for the screen in 1972, directed by Paul Newman and starring his wife Joanne Woodward, daughter Nell Potts, and Roberta Wallach, daughter of Eli Wallach. Woodward won the award for Best Actress at the 1973 Cannes Film Festival. The play revolves around the dysfunctional family consisting of single mother Beatrice and her two daughters, Ruth and Tillie, who try to cope with their abysmal status in life. The play is a lyrical drama, reminiscent of Tennessee Williams' style. Shy Matilda "Tillie" Hunsdorfer prepares her experiment, involving marigolds raised from radioactive seeds, for the science fair. She is, however, constantly thwarted by her mother Beatrice, who is self-centered and abusive, and by her extroverted and unstable sister Ruth, who submits to her mother's will. Over the course of the play, Beatrice constantly tries to stamp out any opportunities Tillie has of succeeding, due to her own lack of success in life. As the play progresses, the paths of the three characters diverge: Tillie wins the science fair through perseverance; ...More: http: //booksllc.net/?id=195511