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.

    Bate opens by taking up questions of authorship, asking, for example, Who was Shakespeare, based on the little documentary evidence we have? Which works really are attributable to him? And how extensive was the influence of Christopher Marlowe? Bate goes on to trace Shakespeare's canonization and near- deification, examining not only the uniqueness of his status among English-speaking readers but also his effect on literate cultures across the globe. Ambitious, wide-ranging, and historically rich, this book shapes a provocative inquiry into the nature of genius as it ponders the legacy of a talent unequalled in English letters. A bold and meticulous work of scholarship, The Genius of Shakespeare is also lively and accessibly written and will appeal to any reader who has marveled at the Bard and the enduring power of his work.

    Lajos Egri's classic, The Art of Dramatic Writing, does just that, with instruction that can be applied equally well to a short story, novel, or screenplay. Examining a play from the inside out, Egri starts with the heart of any drama: its characters. All good dramatic writing hinges on people and their relationships, which serve to move the story forward and give it life, as well as an understanding of human motives - why people act the way that they do. Using examples from everything from William Shakespeare's Romeo and Juliet to Henrik Ibsen's A Doll's House, Egri shows how it is essential for the author to have a basic premise - a thesis, demonstrated in terms of human behavior - and to develop the dramatic conflict on the basis of that behavior.Using Egri's ABCs of premise, character, and conflict, The Art of Dramatic Writing is a direct, jargon-free approach to the problem of achieving truth in writing.

    But for the people of Laramie–both the friends of Matthew and those who hated him without knowing him–the tragedy was personal. In a chorus of voices that brings to mind Thornton Wilder’s Our Town, The Laramie Project allows those most deeply affected to speak, and the result is a brilliantly moving theatrical creation.

    Winner of the Antoinette Perry Award for Best Play of the Season, Anouilh's monumental work—introduced in this edition by the acclaimed writer and critic Andre Aciman—draws from historical events in the Norman conquest of England to paint a profound and enduring portrait of the saint and martyr.

    5Established in 1898 in the heart of Paris on Place Vendôme, the Hôtel Ritz instantly became an icon of the city frequented by film stars and celebrity writers, American heiresses and risqué flappers, politicians, playboys, and princes. When France fell to the Germans in June 1940, it was the only luxury hotel of its kind allowed in the occupied city by order of Adolf Hitler.Tilar J. Mazzeo traces the history of this cultural landmark from its opening in fin de siècle Paris. At its center, The Hotel on Place Vendôme is an extraordinary chronicle of life at the Ritz during wartime, when the Hôtel was simultaneously headquarters to the highest-ranking German officers, such as Reichsmarshal Hermann Göring, and home to exclusive patrons, including Coco Chanel. Mazzeo takes us into the grand palace's suites, bars, dining rooms, and wine cellars, revealing a hotbed of illicit affairs and deadly intrigue, as well as stunning acts of defiance and treachery, where refugees were hidden in secret rooms, a Jewish bartender passed coded messages for the German resistance, and Wehrmacht officers plotted to assassinate the Führer. Yet, as she makes clear, not everyone at the Ritz in the spring of 1940 would survive to the war's end.Rich in detail, illustrated with black-and-white photos, The Hotel on Place Vendôme is a remarkable look at this extraordinary place and the people and events that made it legend; the crucible where the future of post-war France-and all of post-war Europe-was transformed.

    In this Penguin Classics edition, the letters are selected and edited by Ronald de Leeuw, and translated by Arnold Pomerans in Penguin Classics.Few artists' letters are as self-revelatory as Vincent van Gogh's, and this selection, spanning his artistic career, sheds light on every facet of the life and work of this complex and tortured man. Engaging candidly and movingly with his religious struggles, his ill-fated search for love, his attacks of mental illness and his relation with his brother Theo, the letters contradict the popular myth of van Gogh as an anti-social madman and a martyr to art, showing instead a man of great emotional and spiritual depths. Above all, they stand as an intense personal narrative of artistic development and a unique account of the process of creation.The letters are linked by explanatory biographical passages, revealing van Gogh's inner journey as well as the outer facts of his life. This edition also includes the drawings that originally illustrated the letters.Vincent Willem van Gogh (1853-1890) was born in Holland. In 1885 he painted his first masterpiece, The Potato Eaters, a haunting scene of domestic poverty. A year later he began studying in Paris, where he met Gauguin, Toulouse-Lautrec and Seurat, who became very important influences on his work. In 1888 he left Paris for the Provencal landscape at Arles, the subject of many of his best works, including Sunflowers.If you enjoyed The Letters of Vincent van Gogh, you might also like 100 Artists Manifestos, available in Penguin Modern Classics.'If there was ever any doubt that Van Gogh's letters belong beside those great classics of artistic self-revelation, Cellini's autobiography and Delacroix's journal, this excellent new edition dispels it'The Times

    How Stoker became the creator of the mysterious, seductive count from a castle (and coffin) in Transylvania was a story in and of itself. Over the past century, Dracula has never been out of print and has become its own cultural phenomena, starting with Bela Lugosi’s famed rendition in 1931, to Mel Brooks, Francis Ford Coppola, Christopher Lee, Buffy, Anne Rice’s Vampire Chronicles and the hugely popular Twilight series. This generously illustrated documentary collection explores in full the scope of the Dracula phenomenon, from the folkloric origins of the vampire legend to its unending legacy as a vital influence on the literary and performing arts, not to mention the Romanian tourist industry. Nor does it overlook Bram Stoker himself, and includes his working notes and exceptional primary documents.

    Berr brought a keen literary sensibility to her writing, a talent that renders the story it relates all the more rich, all the more heartbreaking. The first day Berr has to wear the yellow star on her coat, she writes, “I held my head high and looked people so straight in the eye they turned away. But it’s hard.” More, many more, humiliations were to follow, which she records, now with a view to posterity. She wants the journal to go to her fiancé, who has enrolled with the Free French Forces, as she knows she may not live much longer. She was right. The final entry is dated February 15, 1944, and ends with the chilling words: “Horror! Horror! Horror!” Berr and her family were arrested three weeks later. She went — as was discovered later — on the death march from Auschwitz to Bergen-Belsen, where she died of typhus in April 1945, within a month of Anne Frank and just days before the liberation of the camp.The journal did eventually reach her fiancé, and for over fifty years it was kept private. In 2002, it was donated to the Memorial of the Shoah in Paris. Before it was first published in France in January 2008, translation rights had already been sold for twelve languages.

    Twice exiled, Boal is 'at home' now wherever he finds himself to be. He makes a skeptical, comic, inquisitive and finally optimistic theatre involving spectators and performers in the search for community and integrity. This is a good book to be used even more than to be read." - Richard Schechner"Augusto Boal's achievement is so remarkable, so original and so groundbreaking that I have no hesitation in describing the book as the most important theoretical work in the theatre in modern times - a statement I make with having suffered any memory lapse with respect to Stanislavsky, Artaud or Grotowski." - Goerge E. WellwarthOriginally basing himself at the Arena Stage in Sao Paolo, Brazil, Augusto Boal developed a series of imaginative theatre exercises which promote awareness of one's social situation and its limitations, individual attitudes, and even how our bodies are bound by tradition. Boal is continued his explorations in Paris, where he directed Le CEDITADE (Centre d'Etude et de Diffusion des Techniques Actives d'Expression - Methode Boal), in addition to traveling and lecturing extensively in other countries. On May 2, 2009, Boal died at age 78 in Rio de Janeiro.

    Mike Nichols' 2003 HBO adaptation starring Meryl Streep, Mary-Louise Parker, and Al Pacino was itself a tour de force, winning 11 Emmys and introducing the play to an even wider public. This generation-defining classic continues to shock, move, and inspire viewers worldwide.Now, on the 25th anniversary of that Broadway premiere, Isaac Butler and Dan Kois offer the definitive account of Angels in America in the most fitting way possible: through oral history, nearly 200 voices in vibrant conversation and debate. The intimate storytelling of actors (including Streep, Parker, Jeffrey Wright, and Nathan Lane), directors, producers, and Kushner himself reveals the turmoil of the play's birth-a hard-won miracle in the face of artistic roadblocks, technical disasters, and disputes both legal and creative. And historians and critics help to situate the play in the arc of American culture, from the staunch activism of the AIDS crisis through civil-rights triumphs to our current era, whose politics are a dark echo of the Reagan '80s. The World Only Spins Forward is both a rollicking theater saga and an uplifting testament to one of the great works of American art of the past century, from its gritty San Francisco premiere to the starry revival that electrified London in 2017.

    Shortly after, he came back to Stratford to play Richard III – a breakthrough performance that would transform his career, winning him the Olivier and Evening Standard Awards for Best Actor. Sher’s record of the making of this historic theatrical event, Year of the King, has become a classic of theatre writing, a unique insight into the creation of a landmark Shakespearean performance.More than thirty years later, Antony Sher returned to Lear, this time in the title role, for the 2016 RSC production directed by Gregory Doran. Sher’s performance was acclaimed by the Telegraph as ‘a crowning achievement in a major career’, and the show transferred from Stratford to London’s Barbican. Once again, he kept a diary, capturing every step of his personal and creative journey to opening night.Year of the Mad King: The Lear Diaries is Sher’s account of researching, rehearsing and performing what is arguably Shakespeare’s most challenging role, known as the Everest of Acting. His strikingly honest, illuminating and witty commentary provides an intimate, first-hand look at the development of his Lear and of the production as a whole. Also included is a selection of his paintings and sketches, many reproduced in full colour.Like his Year of the King and Year of the Fat Knight: The Falstaff Diaries, this book, Year of the Mad King, offers a fascinating perspective on the process of one of the greatest Shakespearean actors of his generation.'One of the finest books I have ever read on the process of acting' Time Out on Year of the King'Antony Sher's insider journal is a brilliant exploded view of a great actor at work – modest and gifted, self-centred and selfless – a genius capable of transporting us backstage' Craig Raine, The Spectator (Books of the Year) on Year of the Fat Knight

    Maud Heighton came to Lafond's famous Academie to paint, and to flee the constraints of her small English town. It took all her courage to escape, but Paris eats money. While her fellow students enjoy the dazzling joys of the Belle Époque, Maud slips into poverty. Quietly starving, and dreading another cold Paris winter, Maud takes a job as companion to young, beautiful Sylvie Morel. But Sylvie has a secret: an addiction to opium. As Maud is drawn into the Morels' world of elegant luxury, their secrets become hers. Before the New Year arrives, a greater deception will plunge her into the darkness that waits beneath this glittering city of light.

    The real-life protagonist of The Black Count, General Alex Dumas, is a man almost unknown today yet with a story that is strikingly familiar, because his son, the novelist Alexandre Dumas, used it to create some of the best loved heroes of literature.Yet, hidden behind these swashbuckling adventures was an even more incredible secret: the real hero was the son of a black slave -- who rose higher in the white world than any man of his race would before our own time. Born in Saint-Domingue (now Haiti), Alex Dumas was briefly sold into bondage but made his way to Paris where he was schooled as a sword-fighting member of the French aristocracy. Enlisting as a private, he rose to command armies at the height of the Revolution in an audacious campaign across Europe and the Middle East – until he met an implacable enemy he could not defeat.The Black Count is simultaneously a riveting adventure story, a lushly textured evocation of 18th-century France, and a window into the modern world’s first multi-racial society. But it is also a heartbreaking story of the enduring bonds of love between a father and son.

    Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch's films in succession. Though this book was initially published in 1967 when Hitchcock was still active, Truffaut later prepared a revised edition that covered the final stages of his career. It's difficult to think of a more informative or entertaining introduction to Hitchcock's art, interests, and peculiar sense of humor. The book is a storehouse of insight and witticism, including the master's impressions of a classic like Rear Window ("I was feeling very creative at the time, the batteries were well charged"), his technical insight into Psycho's shower scene ("the knife never touched the body; it was all done in the [editing]"), and his ruminations on flops such as Under Capricorn ("If I were to make another picture in Australia today, I'd have a policeman hop into the pocket of a kangaroo and yell 'Follow that car!'"). This is one of the most delightful film books in print. --Raphael Shargel