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."

    This deluxe collection of Shakespeare’s most dazzling insults is neatly separated into sections for quick retrieval when a stinging retort is demanded. Become the master of your own villainy with creative insults that will show those rogues and ruffians who’s in charge!

    She has written a stunningly original book of essays whose concerns range from the most minimal and personal subjects to the most encompassing matters of art and culture. The titles themselves speak to the volume's uniqueness: "On lice," "On sleeping in the theater," "On motherhood and stools (the furniture kind)," "Greek masks and Bell's palsy."100 Essays I Don't Have Time to Write is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life.

    Pearson Moore goes to the heart of LOST, uncovering and explaining the fascinating core concepts: Faith versus Science, the Numbers, the nature of good and evil, and the struggle between free will and destiny. He will lead you to ideas and conclusions you never imagined, opening the world of LOST in fresh and exciting ways.Whether you understood LOST or were completely baffled, whether you loved it or hated it, Moore will show you concepts and ways of thinking about LOST you will find nowhere else.Moore's innovative thoughts and vibrant prose will keep you engaged as he explores the Island and its characters. He approaches LOST from four "nonlinear" points of view: Disorientation, Metadrama, Literary Analysis, and Chaos Theory. This is in-depth analysis that never lets go, keeping you immersed in the LOST world from cover to cover.There's no filler here. No interviews with stars about the cars they drive or the planes they fly. No weird theories. Just solid, thoroughly-researched, rapid-fire analysis from one of the most cited LOST authorities on the Internet. You may feel exhausted after a chapter. You may be shocked. You may become upset. But you will never be bored.This in-depth exploration spans nineteen chapters across roughly 350 pages. The first chapter sets up the problem, focussing on the complexities of LOST and identifying the means Moore will use to make the concepts accessible. The second chapter defines the thesis of LOST, which acts as a guide to understanding the major themes. Chapters Three through Nine cover major "linear" topics.The heart of the book begins with Chapter Ten. It is here that Moore unleashes the four "nonlinear" tactical devices to reveal the hidden meanings of LOST. He discusses the need for disorientation, and how this is essential to understanding LOST. He proposes the idea that LOST is metadrama, and he explains how understanding LOST in this way is useful to unraveling its secrets. He makes fresh use of literary theory, in ways never before applied to LOST. Finally, Moore brings an astounding, completely new perspective on television analysis with his concept of the Strange Attractor, an idea borrowed from chaos theory. It is here that Moore's analysis shines, allowing a depth of understanding never before achieved.For less than the cost of a cup of coffee, you can explore the stimulating world of LOST with an animated, engaging, thought-provoking guide. The Island awaits. Prepare to get LOST.

    Jon Winokur defines and classifies irony and contrasts it with coincidence and cynicism, and other oft-confused concepts that many think are ironic. He looks at the different forms irony can take, from an irony deficiency to visual irony to an understatement, using photographs and relate-able examples from pop culture. * "Irony in Action" looks at irony in language, both verbal and visual, while "Bastions of Irony" and "Masters of Irony" look at institutions and individuals steeped in irony, though not always intentionally.  PLUS:* The Annals of Irony looks at irony, and its lack thereof, throughout history. A delight for anyone with a smart, dark sense of humor.

    As a Stanislavsky disciple and founder of her own highly esteemed acting conservatory, the extravagant actress was also an eminent acting teacher, training her students--among them Marlon Brando, Al Pacino, and Robert DeNiro--in the art of script interpretation. The classic lectures collected here, delivered over a period of forty years, bring to life the plays of the three fathers of modern drama: Henrik Ibsen, August Strindberg, and Anton Chekhov. With passionate conviction and shrewd insight, Adler explains how their plays forever changed the world of dramaturgy while offering enduring insights on society, class, culture, and the role of the actor. She explores the struggles of Ibsen's characters to free themselves from societal convention, the mortal conflicts that trap Strindberg's men and women, and the pain of loss and transition lyrically evoked by Chekhov. A majestic volume, Stella Adler on Ibsen, Strindberg, and Chekhov allows us to experience the work of these masters "as if to see, hear and feel their genius for the first time." (William H. Gass)

    This crafty revision of English vocabulary posits that Platypus should signify “to give your cat pigtails;” that Flemish should mean “rather like snot;” and that Celtic is in fact a prison for fleas. With nearly 600 new definitions, this side-splitting resource pushes the boundaries of the English language to riotous new limits.

    If you need to be an actor, do.’The world of theatre could not have been further from Derek’s childhood: an only child, born in Leytonstone, London. With his father a department store manager and his mother a secretary, his was very much a working class background. But nonetheless Derek always knew he was going to be an actor, and he remembers clearly the first time he was in costume – draping himself in his mother’s glorious wedding veil as he paraded up and down the Essex Road with his friends.A few short years later, at the age of seven, Derek made his acting debut, playing both lead roles in a local library production of The Prince and the Swineherd. By the age of 18 Derek was playing Hamlet (his most famed role) at the Edinburgh festival. He won a scholarship to Cambridge, where he studied and acted alongside other future acting greats including Ian McKellen. His talent was quickly recognised and in 1963 he was invited to become one of the first members of Laurence Olivier’s National Theatre.Often admired for his willingness to grapple with even the most dislikeable of characters, Derek Jacobi has worked continuously throughout his career, starring in roles ranging from the lead in I, Claudius to Hitler in Inside the Third Reich and Francis Bacon in the controversial Love Is The Devil. But it is his numerous Shakespearean roles that have gained him worldwide recognition.This book is, however, much more than a career record. Funny, warm and honest, Jacobi brings us his insider’s view on the world of acting. From a simple childhood in the East End to the height of fame on stage and screen, Derek recalls his journey in full: from the beginnings of his childhood dreams to the legendary productions, the renowned stars and the intimate off-stage moments.

    This provocative book tackles some of the enduring 'sacred truths' surrounding the high cultural status of the live event.

    Lemon tells the audience about the overwhelming influence in her life of her parents' friend "Aunt Dan," an eccentric, passionate professor whose stories and seductive opinions enthrall Lemon from the time she is a young girl. The relationship that develops between Lemon and Aunt Dan and the conversations that went on in a small house on the bottom of an English garden form the focus of this play about political orientation and the allure of certain ideas-even if they lead to murder. A forceful play exposing the banality of society's evil, Aunt Dan & Lemon explores the ease with which good and bad become reconciled in the human mind.

    Hey Natalie Jean is a terrific read for anyone who wants to make her life more beautiful.” – Gretchen Rubin                          The blog Hey Natalie Jean has won a cult following with writer Natalie Holbrook’s honest, inspiring, and often witty posts on topics like marriage, babies, nesting, and style. Natalie’s first book, Hey Natalie Jean is one part manifesto and three parts ideas, projects, and advice. Beautifully illustrated and whimsically designed, the book offers twenty-five essays and how-tos that serve as a guide to life: making date-night magic in the middle of the mundane, successfully exploring the city with a three-year-old, and creating a satisfying daily routine that still leaves room for little adventures and lots of magic.                                                         Natalie’s optimism, creativity, keen eye, and zeal for life are palpable, and she encourages others to make their lives beautiful with ease. This heartfelt, personal collection of essays and photographs shows Natalie’s ability to identify and describe life’s lovely incidentals in the everyday routine of errands, play dates, and naps. Inspiring, moving, and whip-smart, Hey Natalie Jean is an honest look at the hard work and courage that go into creating a beautiful life.

    Hacker leads us into a world of philosophical investigation in which to smell a rat is ever so much easier than to trap it. Wittgenstein defined humans as language-using creatures. The role of philosophy is to ask questions which reveal the limits and nature of language. Taking the expression, description and observation of pain as examples, Hacker explores the ingenuity with which Wittgenstein identified the rules and set the limits of language. (less)

    At higher levels, testosterone causes destructive male behavior, the two most terrible kinds being: 1. War. 2. Do-it-yourself projects.

    By addressing the importance of the audience, Wilson brings the art of performance to life for students who may have little experience with the medium.

    His career has spanned more than half a century, his lyrics have become synonymous with musical theater and popular culture, and in Finishing the Hat—titled after perhaps his most autobiographical song, from Sunday in the Park with George—Sondheim has not only collected his lyrics for the first time, he is giving readers a rare personal look into his life as well as his remarkable productions.Along with the lyrics for all of his musicals from 1954 to 1981—including West Side Story, Company, Follies, A Little Night Music and Sweeney Todd—Sondheim treats us to never-before-published songs from each show, songs that were cut or discarded before seeing the light of day. He discusses his relationship with his mentor, Oscar Hammerstein II, and his collaborations with extraordinary talents such as Leonard Bernstein, Arthur Laurents, Ethel Merman, Richard Rodgers, Angela Lansbury, Harold Prince and a panoply of others. The anecdotes—filled with history, pointed observations and intimate details—transport us back to a time when theater was a major pillar of American culture. Best of all, Sondheim appraises his work and dissects his lyrics, as well as those of others, offering unparalleled insights into songwriting that will be studied by fans and aspiring songwriters for years to come. Accompanying Sondheim’s sparkling writing are behind-the-scenes photographs from each production, along with handwritten music and lyrics from the songwriter’s personal collection. Penetrating and surprising, poignant, funny and sometimes provocative, Finishing the Hat is not only an informative look at the art and craft of lyric writing, it is a history of the theater that belongs on the same literary shelf as Moss Hart’s Act One and Arthur Miller’s Timebends. It is also a book that will leave you humming the final bars of Merrily We Roll Along, while eagerly anticipating the next volume, which begins with the opening lines of Sunday in the Park with George.