Richard Boleslavsky's Acting: The First Six Lessons is a treasure-box of wise observation about the art of acting, all wrapped up in six charming dialogues between a teacher and a student. Generations of actors have been enriched by Boleslavsky's witty and acute picture of the actor's craft. These six "lessons" — miniature dramas about concentration, memory of emotion, dramatic action, characterization, observation, and rhythm — distill the challenge facing every actor. For this reissue the text has been entirely reset and the book jacketed in a contemporary design. An essential work on the short shelf of any acting student.

    Based on Barry Edelstein's twenty-year career directing Shakespeare's plays, this book provides the tools that actors need to fully understand and express the power of Shakespeare's language.

    Edited by a team of exceptional scholars and teachers, this anthology opens an extraordinary tradition in drama to new readers and audiences."

    Almost one hundred years later, a groom-to-be prepares for his gay wedding.Queers celebrates a century of evolving social attitudes and political milestones in British gay history, as seen through the eyes of eight individuals.Poignant and personal, funny, tragic and riotous, these eight monologues for male and female performers cover major events - such as the Wolfenden Report of 1957, the HIV/AIDS crisis, and the debate over the age of consent - through deeply affecting and personal rites-of-passage stories.Curated by Mark Gatiss, the monologues were commissioned to mark the anniversary of the 1967 Sexual Offences Act, which decriminalised homosexual acts in private between two men over the age of twenty-one. They were broadcast on BBC Four in 2017, directed and produced by Gatiss, and starring Alan Cumming, Rebecca Front, Ian Gelder, Kadiff Kirwan, Russell Tovey, Gemma Whelan, Ben Whishaw and Fionn Whitehead. They were staged at The Old Vic in London.This volume includes:The Man on the Platform by Mark GatissThe Perfect Gentleman by Jackie CluneSafest Spot in Town by Keith JarrettMissing Alice by Jon BradfieldI Miss the War by Matthew BaldwinMore Anger by Brian FillisA Grand Day Out by Michael DennisSomething Borrowed by Gareth McLean

    It is now 140 years since England first played Test match cricket and, for much of that time, it has struggled to perform to the best of its capabilities. In the early years, amateurs would pick and choose which matches and tours they would play; subsequently, the demands of the county game - and the petty jealousies that created - would prevent many from achieving their best. It was only in the 1990s that central contracts were brought in, and Team England began to receive the best possible support from an ever-increasing backroom team.  But cricket isn't just about structures, it depends like no other sport on questions of how successful the captain is in motivating and leading his team, and how well different personalities and egos are integrated and managed in the changing room. From Joe Root and Alastair Cook back to Mike Atherton, Mike Brearley and Ray Illingworth, England captains have had a heavy influence on proceedings. Recent debates over Kevin Pietersen were nothing new, as contemporaries of W.G.Grace would doubtless recognise. As England close in on playing their 1000th Test, this is a brilliant and unmissable insight into the ups and downs of that story.

    Decades later, in What the Constitution Means to Me, she traces the effect that the Constitution has had on four generations of women in her family, deftly examining how the United States' founding principles are inextricably linked with our personal lives.

    Stanislavski's simple exercises fire the imagination, and help readers not only discover their own conception of reality but how to reproduce it as well.

    It was ground-breaking, not only for its blatant denounciation of the incompetence of political leaders during World War I, but also for its unusual theatrical style and development. Created organically through a process of improvisation which was then scripted, Oh What A Lovely War is a colorful and innovative exercise in ensemble theatre and acting.It recalls the horrors of World War I through the humor and frivolity of a seaside pier show, mixing famous British war songs (often with alternative words) with gags and dances, and sets hilarious clowning against shocking factual documentation of the war's casualties. An exhilarating ensemble piece, Joan Littlewood's theatrical creation is a lesson in Brechtian theatre, in its self-conscious theatricality, and uses humor to present human tragedy.It received the acclaim of London audiences and critics. It won the Grand Prix of the Théâtre des Nations festival in Paris that year and has gone on to become a classic of the modern theatre. In 1969 a film version was made which extended the play's popular success. This new version of the play, as edited by Joan Littlewood, returns the script to its original version.Includes a new photo section of the original production, and an Afterword by Victor Spinetti.

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    Lyly took up the story of two young women, Galatea (or Gallathea) and Phillida who are dressed up in male clothes by their fathers so that they can avoid the requirement of the god Neptune that every year "the fairest and chastest virgin in all the country be sacrificed to a sea-monster." Hiding together in the forest, the two maidens fall in love, each supposing the other to be a young man. "Galatea" has become the subject of considerable feminist critical study in recent years. "Midas" (1590) uses mythology in quite a different way, dramatizing two stories about King Midas in such a way as to fashion a satire of King Philip of Spain (and of any tyrant like him) for colossal greediness and folly. In the wake of the defeat of Philip's Armada fleet and its attempted invasion of England in 1588, this satire was calculated to win the approval of Queen Elizabeth and her court.

    Inside tips on the studio system and acting guilds make it particularly helpful for people new to the business, and numerous anecdotes from actors such as Morgan Freeman and Anthony Hopkins and examples from current movies illustrate its many lessons. It is perfect for acting classes, workshops, all actors who work in front of the camera -- and all those who want to.

    Murray Abraham on gaining an audience’s sympathy for Shylock, Sir Ben Kingsley on communicating Shakespeare’s ideas through performance, Germaine Greer on the playwright’s home life, Dame Harriet Walter on the complexity of his heroines, Brian Cox on social conflict in his time and ours, Jane Smiley on transposing King Lear to Iowa in A Thousand Acres, and Sir Antony Sher on feeling at home in Shakespeare’s language. Together these essays provide a fresh appreciation of Shakespeare’s works as a living legacy to be read, seen, performed, adapted, revised, wrestled with, and embraced by creative professionals and lay enthusiasts alike.

    Both are struggling to escape from lingering parental domination and to establish their own lives and identities. In Janie's case this leads to an inconclusive involvement with a young Jewish doctor who calls her "Monkey"; while Harriet assails the world of big business and has an affair with her hard-driving (and married) boss. Told in a fast-moving series of inventive, alternately hilarious and touchingly revealing scenes, the play explores their parallel stories with uncommon wit and wisdom-resulting, ultimately, in a heightened awareness which, while not providing all the answers, goes a long way toward achieving the maturity and self-assuredness that both protagonists so desperately desire.

    These pages, apparently found concealed beneath some floorboards, seemed to cast a remarkable new light on the mystery at the heart of the play. While Frayn began to lose all sense of certainty, actor David Burke, who played Niels Bohr in the London production and had some experience with documents of this sort, followed the action with particularly close interest. After the riddle was cracked and the fog had cleared, Frayn and Burke sat down together to ponder the winding trail of the Copenhagen papers.By turns comic and profound, The Copenhagen Papers explores the conundrum at the heart of all Michael Frayn's work--human fallibility and the eternal difficulty of knowing why we do what we do.

    Someone - or something - is leaving bite marks in the avocados, Clay and Kelly's little daughter has an itch, and Carol can't remember who played Gandhi. This work takes a look at phoney liberal values.