Now, in light of books and articles recently published in the Soviet Union, Sonia Moore has made revisions that include a new section on the subtext of a role. She provides detailed explanations of all the methods that actors in training have found indispensable for more than twenty years. Designed to create better actors, this guide will put individuals in touch with themselves and increase personal sensitivity as well.

    It helps you provide opportunities for young people to open up and explore their feelings through theatre, offering a safe place for them to air their views with dignity, respect, and freedom.The purpose of this manual is to provide a clear look at the process and specifics involved in the Hope Is Vital interactive theatre techniques. The organization is sequential, providing a blueprint for creating a workable plan. Beginning with warm-up exercises and bridging activities, the process moves forward to improvisational scenework, where students actually replace characters in the stories. It is at this point that young people engage in their own mini-theatre and look at choices, strategies, and communication.Teachers will want to read this book. Counselors will want to read this book. Community leaders will want to read this book. It is useful in any group setting or as a tool for outreach.

    The author examines both the economic and cultural aspects of television, and investigates it in terms of both theory and text-based criticism. Fiske introduces the main arguments from current British, American, Australian and French scholarship in a style accessible to the student, providing an integrated study of approaches to the medium.

    It's a still a mystery, and a much debated topic, among theater enthusiasts as to why "Merrily We Roll Along" flopped, especially since Sondheim's other productions, which include "Into the Woods," "Follies," "Sweeney Todd," and "A Funny Thing Happened on the Way to the Forum," have been so endearing and extraordinarily successful. In this Kindle Single, Pogrebin muses on why the show didn't get off the ground at the same time that she takes the reader on passionate, introspective journey, examining the importance of this very special moment in her life.Abigail Pogrebin is the author of Stars of David: Prominent Jews Talk About Being Jewish (Broadway Books 2007), and One And The Same: My Life as an Identical Twin and What I've Learned About Everyone's Struggle to Be Singular (Doubleday 2009). Pogrebin has written for many national publications, and has produced for Mike Wallace at "60 Minutes." She lives in New York City with her husband and two children.

    It is one of those rare books -- concise and compelling, yet based on science. Certain to become a staple in first-year college curricula, The A Game will forever change students' lives.

    

    He or she must have a working knowledge of how the various technical aspects of the theater work (scenery, props, costumes, lights and sound), be part director, part playwright, part designer and part producer, and be prepared to act as confidant, counselor and confessor to everyone else in the company.This book addresses all of these considerations in detail and offers the reader-professional or amateur, veteran or beginner-helpful guidance and practical advice, supported by many forms and examples to illustrate the points covered in the text.The three phrases of mounting and performing a show are covered. Part I takes the reader through the pre-production phase-research, the script, planning and organization, and auditions. Part II covers the rehearsal process-rehearsal rules, blocking, cues, prompting, information distribution, technical and dress rehearsals. Part III discusses the performance phase-calling the show, maintaining the director's work, working with understudies and replacements, and more.Part IV provides insights into the organizational structure or some theaters and aspects of human behavior in those organizations. Many stage managers of long-running commercial productions believe that-once the show is up and running-only ten percent of their work is related to everything covered in Parts I, II and III. The other ninety percent is associated with issues in Part IV; i.e. managing human behavior and maintaining working relationships.

    Drawing on examples from diverse American groups and experiences, this text gives the student a strong foundation—from the field’s history and major terms to theories, interpretive approaches, and fieldwork.Many teachers of undergraduates find the available folklore textbooks too complex or unwieldy for an introductory level course. It is precisely this criticism that Living Folklore addresses; while comprehensive and rigorous, the book is specifically intended to meet the needs of those students who are just beginning their study of the discipline. Its real strength lies in how it combines carefully articulated foundational concepts with relevant examples and a student-oriented teaching philosophy.

    Rodenburg calls this "a simple manual to start the journey into the heart of Shakespeare," and that is what she gives us. With the same insight she displayed in The Actor Speaks, Rodenburg tackles the playing of all Shakespeare's characters. She uses dramatic resonance, breathing, and placement to show how an actor can bring Hamlet, Rosalind, Puck and other characters to life. This is one book every working actor must have.

    Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann's groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre.In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical shift from a text-based culture to a new media age of image and sound.Engaging with theoreticians of 'drama' from Aristotle and Brecht, to Barthes and Schechner, the book analyzes the work of recent experimental theatre practitioners such as Robert Wilson, Tadeusz Kantor, Heiner Muller, the Wooster Group, Needcompany and Societas Raffaello Sanzio.Illustrated by a wealth of practical examples, and with an introduction by Karen Jurs-Munby providing useful theoretical and artistic contexts for the book, Postdramatic Theatre is an historical survey expertly combined with a unique theoretical approach which guides the reader through this new theatre landscape.

    This book includes one of the sanest and most convincing arguments that I have read for experimentation in the writing of ethnography, which is supported by the text itself as an exemplar of a modest, theoretically unpretentious experiment that works very well indeed." George E. Marcus, Rice University"While a few Californians may be aware of the Tongan immigrant population in their midst, most Americans are unaware that the United States is a major terminus for the people of Tonga, an island nation in the South Pacific. Small examines Tongan migration to the United States in a 'transnational' perspective, stressing that many of the new migrant populations seem successfully to manage dual lives, in both the old country and the new. To that end, she describes life in contemporary Tongan communities and in U.S. settings." Library JournalThis book documents the momentous social phenomena of mass migration from agricultural ex-colonies and ex-protectorates to the industrial world. Cathy A. Small provides the poignant perspective of one extended family and one village in the Kingdom of Tonga, an independent island nation in the South Pacific which has lost one third of its population to migration since the mid-1960s. Moving between Tonga and California, Small chronicles the experiences of a family from the village of 'Olunga. Some members stayed and some migrated to California, in successive waves in the 1960s-1990s. Through their lives, she presents a striking picture of Tongan culture in the United States. Returning to 'Olunga with family members and their American-born children, Small shows what happened to village life and to kin relationships thirty years after migration began.

    Written by one of the most adventurous and respected directors working today, this book will be an essential item in every student and practitioner’s kitbag. It provides detailed assistance with each aspect of the varied challenges facing all theatre directors, and does so with startling clarity. It will inspire everyone, from the beginner just starting out to the experienced practitioner looking to reinvigorate their practice.Katie Mitchell shares and explains the key practical tools she uses to approach her work with both actors, production teams, and the text itself. She addresses topics such as: the ideas that underpin a play’s text preparing improvizations Twelve Golden Rules for working with actors managing the transition from rehearsal room to theatre analyzing your work after a run has ended. Each chapter concludes with a summary of its critical points, making this an ideal reference work for both directors and actors at any stage of their development.

    

    Features his compelling adaptation of Clytemnestra--finding an astonishing parallel between ancient Greek and modern Japanese society, Suzuki melds traditional and avant-garde techinques to shed new light on this primal tale.

    It presents and discusses specific legal cases concerned with the multitude of issues facing the public school system-including teaching diverse student populations, teacher rights, and the role of the Federal government. There are over 1300 citations and excerpts of school law cases.