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    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.

    Each volume includes a critical introduction biography of the author, discussions of dates and sources, textual details, a bibliography and information about the staging of the plav. New Mermaids include plays by Beaumont, Behn, Boucicault, Chapman, Congreve, Dekker, Dryden, Etherege, Farquhar, Ford, Goldsmith, Hevwood, Jonson, Kyd, Marlowe, Marston, Massinger, Middleton, Peele, Rowley, Sheridan, Synge, Tourneur, Vanbrugh, Webster, Wilde, and Wvcherley.

    Through the dramatic characterization of the famous physicist, Brecht examines the issues of scientific morality and the difficult relationship between the intellectual and authority. This version of the play is the famous one that was brought to completion by Brecht himself, working with Charles Laughton, who played Galileo in the first two American productions (Hollywood and New York, 1947). Since then the play has become a classic in the world repertoire. "The play which most strongly stamped on my mind a sense of Brecht's great stature as an artist of the modern theatre was Galileo." - Harold Clurman; "Thoughtful and profoundly sensitive." - Newsweek.

    An eminent—and initially unsympathetic—QC takes on the case, and the boy has to withstand the full might of the Royal Naval Establishment seeking to discredit him.

    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

    But when one of the guests is stabbed to death, the festivities in this isolated house of tricks and mirrors quickly turn dangerous. Then it's up to Gillette himself, as he assumes the persona of his beloved Holmes, to track down the killer before the next victim appears. The danger

    Her characters suffer and survive against the enormous weight of the times with a dignity that inspires. Her work challenges the audience and reader to reexamine the conflicts and meaning of our everyday lives through her singular, poetic imagery and language.Includes: One Flea SpareIn the Heart of AmericaSlaughter CityThe War BoysThe Trestle at Pope's Creek

    Here, he shares his views on it all--from building tension and plotting a scene, right down to moving a character from one side of the stage to the other. From crafting an intriguing beginning to delivering a satisfying ending.In Hatcher's one-on-one discussions with acclaimed American playwrights Lee Blessing, Marsha Norman and Jose Rivera, you'll find a wealth of practical advice, tricks of the trade and insight that will help you in your own creative efforts.

    Hook, Smee, the lost boys, pirates and the indians, and, of course, Tinker Bell, in their adventures in Never Land. However, for the first time, the play is here restored to Barrie's original intentions. In the words of John Caird: "A brief explanation of some of the decisions we took in revising the text may be useful to anyone considering their own production of this version We were fascinated to discover that there was no one single document called PETER PAN. What we found was a tantalizing number of different versions, all of them containing some very agreeable surprises We have made some significant alterations, the greatest of which is the introduction of a new character, the Storyteller, who is in fact the author himself. To a reader of the play, one of its most enjoyable ingredients is Barrie's unmistakable authorial tone. He tells the story of Peter Pan partly through dialogue and partly by means of his inimitable stage directions. In a whimsical, ambiguous and ironical manner he speaks here as clearly to adults as he does to children. Moreover, many of the play's complicated conceits are only comprehensible if Barrie's commentary can be heard in parallel with the voices of the characters. This device also allows us to prepare our audience with some essential background history of the Darling family in a brief prologue, and to extend the narrative at the end of the play to include Barrie's heartbreaking and heartwarming conclusion to Peter and Wendy's story."