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.

    A sympathetic werewolf, a vampire and an Egyptian princess brought to life when her tomb is opened make this a comedy that has everything."Far and away the funniest two hours on a New York stage....What more meaningful gift could Ludlam bequeath [audiences

    Any number of books preached persistence, but O'Neil was the first writer who actually told actors how to be persistent. The book is such a vital resource that it won a spot on "Entertainment Weekly"'s exclusive list of Industry Bibles.Now in this third edition, O'Neil updates his indispensable resource to keep up with the latest show-business trends and help you put control of your acting career where it belongs: in your own hands. You won't just read "Acting As a Business," Third Edition, you'll dog ear, underline, and bookmark it as you discover: a how-to guide to writing your theatrical resume - for both the East-Coast and the West-Coast actor specific examples of cover letters and other important correspondence practical ways to join the performer's unions tactics for getting an agent and finding out casting information well in advance tips on preparing for and answering the questions most often asked by agents in an interview - and what you should ask them techniques for auditioning in an agent's office the dos and don'ts of effective interview follow-up strategies for finding work in the theater, on soap operas, and in independent films a chart for recording which casting directors know your work an effective approach to interviewing a prospective personal manager a discussion of the "League" schools the best ways to make use of the internet.

    Typical except that Cody is black--"rich, black, and different," in the words of Belinda, who finds herself attracted to a former (white) classmate. As the battle for her affections is waged, Belinda and Cody frankly doubt the foundation of their initial attraction, opening the door wide to a swath of bigotry and betrayal. Staged on continually shifting moral ground that challenges our received notions about gender, ethnicity, and even love itself, This Is How It Goes unblinkingly explores the myriad ways in which the wild card of race is played by both black and white in America.

    It sets out the principles and practice of Boal's revolutionary Method, showing how theatre can be used to transform and liberate everyone - actors and non-actors alike!This thoroughly updated and substantially revised second edition includes:two new essays by Boal on major recent projects in Brazil Boal's description of his work with the Royal Shakespeare Company a revised introduction and translator's preface a collection of photographs taken during Boal's workshops, commissioned for this edition new reflections on Forum Theatre.

    It combines thorough coverage of classical and contemporary communication theory, practical nuts-and-bolts guidance, and 600+ custom-drawn illustrations that bring speech basics to life. And if that’s not enough, Speak Up is priced at about 40% less than traditional introductory texts. Instructors and student reviewers have been raving about it, and your students will love it!

    No matter how carefully we formulate a “script,” it is bound to change when we interact with people with scripts of their own. Improv Wisdom shows how to apply the maxims of improvisational theater to real-life challenges—whether it’s dealing with a demanding boss, a tired child, or one of life’s never-ending surprises. Patricia Madson distills thirty years of experience into thirteen simple strategies, including “Say Yes,” “Start Anywhere,” “Face the Facts,” and “Make Mistakes, Please,” helping readers to loosen up, think on their feet, and take on everything life has to offer with skill, chutzpah, and a sense of humor.

    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.

    Book by McLure, James

    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.

    Rebecca Gilman challenges our preconceptions about race relations, writing of a liberal dean of students named Sarah Daniels who investigates the pinning of anonymous, clearly racist letters on the door of one of the college's few African American students. The stunning discovery that there is a virulent racist on campus forces Sarah, along with other faculty members and students, to explore her feelings about racism, leading to surprising discoveries and painful insights that will rivet and provoke the reader as perhaps no play since David Mamet's Oleanna has done.Spinning into Butter had its world premiere at the Goodman Theatre in Chicago in May 1999 and will open at the Vivian Beaumont Theater at Lincoln Center in New York in April 2000.

    The first scene of the play is a conversation between two lovers, Tommy and Donna, who broke up some time earlier but who are obviously still attracted to each other. Donna is enraged because Tommy, a would-be artist, is now having an affair with her younger sister, but Tommy, stretched out on his recliner (which, apart from a refrigerator full of beer, comprises the entire furnishings of his spartan apartment), is seemingly unmoved by her harangue. In the second scene Donna visits her father, a once successful artist who stopped painting at the death of his wife, whom he had bullied and betrayed despite his professed love for her. Combative and complex (but also very funny) the father sits and drinks and eventually gives in to his daughter's demand that he force Tommy to marry her or beat him up. Then, in the third and final scene, the father and Tommy confront each other, with results that are sometimes menacing, sometimes antic, with a lively discussion about art and women eventually leading to a sort of tenuous truce—and a grudging recognition of the responsibility that love, in its various guises, imposes.

    Viola Spolin's improvisational techniques changed the very nature and practice of modern theater. The first two editions of Improvisation for the Theater sold more than 100,000 copies and inspired actors, directors, teachers, and writers in theater, television, film. These techniques have also influenced the fields of education, mental health, social work, and psychology.

    Combining the freshly edited texts of the Oxford Edition with lively introductions, this contemporary Shakespeare enables readers to see and read Shakespeare afresh.

    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.