In his "mini-manual for actors," Fo lays bare the tools of his craft. With the assistance of his wife, playwright Franca Rame, he explains how text, song, humor, mime and political intelligence can be fused into brilliant "popular theatre."

    The ghost of a young murdered girl flits through every scene linking the pain and anguish of all the characters struggling to cope with urban life.

    Its traditions serve as a record of our past. A ballerina dancing The Sleeping Beauty today is a link in a long chain of dancers stretching back to sixteenth-century Italy and France: Her graceful movements recall a lost world of courts, kings, and aristocracy, but her steps and gestures are also marked by the dramatic changes in dance and culture that followed. Ballet has been shaped by the Renaissance and Classicism, the Enlightenment and Romanticism, Bolshevism, Modernism, and the Cold War. Apollo’s Angels is a groundbreaking work—the first cultural history of ballet ever written, lavishly illustrated and beautifully told.Ballet is unique: It has no written texts or standardized notation. It is a storytelling art passed on from teacher to student. The steps are never just the steps—they are a living, breathing document of a culture and a tradition. And while ballet’s language is shared by dancers everywhere, its artists have developed distinct national styles. French, Italian, Danish, Russian, English, and American traditions each have their own expression, often formed in response to political and societal upheavals.From ballet’s origins in the Renaissance and the codification of its basic steps and positions under France’s Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. It was in Russia that dance developed into the form most familiar to American audiences: The Sleeping Beauty, Swan Lake, and The Nutcracker originated at the Imperial court. In the twentieth century, émigré dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans is a historian and critic who was also a professional dancer: She brings to Apollo’s Angels a knowledge of dance born of dedicated practice. She traces the evolution of technique, choreography, and performance in clean, clear prose, drawing readers into the intricacies of the art with vivid descriptions of dances and the artists who made them. Her admiration and love for the ballet shines through on every page. Apollo’s Angels is an authoritative work, written with a grace and elegance befitting its subject.

    He is here presenting new information resulting from his research into African music, especially among the Venda. Venda music, he discovered is in its way no less complex in structure than European music. Literacy and the invention of nation may generate extended musical structures, but they express differences of degree, and not the difference in kind that is implied by the distinction between 'art' and 'folk' music. Many, if not all, of music's essential processes may be found in the constitution of the human body and in patterns of interaction of human bodies in society. Thus all music is structurally, as well as functionally, 'folk' music in the sense that music cannot be transmitted of have meaning without associations between people.If John Blacking's guess about the biological and social origins of music is correct, or even only partly correct, it would generate new ideas about the nature of musicality, the role of music in education and its general role in societies which (like the Venda in the context of their traditional economy) will have more leisure time as automation increases.

    

    The Russian, Botvinnik, a seasoned veteran who has mastered the Soviet "hard line," is urbane and humorous but, at the same time, profoundly cynical about what the current sessions can accomplish. His young American counterpart, Honeyman, a newcomer to the arms-control talks, is a bit stuffy and pedantic, but also fervently idealistic about what can and must be achieved through perseverance and honest bargaining. They continue their informal meetings as the talks drag on and the seasons change, and through their absorbing and revealing conversations we become aware both of the deepening understanding between these two wise and decent men and also of the profound frustration that they increasingly feel. In the end, when Botvinnik announces that he is leaving his post, Honeyman is genuinely regretful, not only because of the friendship that has grown between them but also because he knows that he must now confront again the deep-seated mistrust and misconceptions which a "new man" will bring with him and that the elemental differences in their two systems of government will continue to exacerbate as long as the real power rests in the hands of those burdened by the bitterness of the past.

    Dixon details the four pillars of performance that form the foundation of his highly successful purplepatch fitness program, showing triathletes of all abilities how they can become well-built triathletes and perform better year after year. The Well-Built Triathlete does not focus narrowly on workouts and training, but instead gives equal weight to training and workouts, recovery and rest, workout and daily nutrition, and functional strength and mobility. Dixon considers the demands of career and family to prepare athletes to achieve their goals through a realistic, practical ecosystem of stress and recovery. The Well-Built Triathlete is Dixon’s guide to every aspect of triathlon performance. Chapters on swimming, cycling, and running explain the most effective ways to train for each. His pragmatic approach to stretching, recovery, and effective strength training shows athletes where they can recover valuable time. A purplepatch section shows how triathletes can achieve long streaks of high performance. Dixon’s whole-athlete approach to triathlon will help triathletes become greater than the sum of their workouts. By becoming better all-around athletes, well-built triathletes will train and race faster than ever.

    The company had been a fixture on the national opera scene--as the populist antithesis of the grand Metropolitan Opera, a nurturing home for young American talent, and a place where new, lively ideas shook up a venerable art form. But NYCO's demise represented more than the loss of a cherished organization: it was a harbinger of massive upheaval in the performing arts--and a warning about how cultural institutions would need to change in order to survive.Drawing on extensive research and reporting, Heidi Waleson, one of the foremost American opera critics, recounts the history of this scrappy company and reveals how, from the beginning, it precariously balanced an ambitious artistic program on fragile financial supports. Waleson also looks forward and considers some better-managed, more visionary opera companies that have taken City Opera's lessons to heart.Above all, Mad Scenes and Exit Arias is a story of money, ego, changes in institutional identity, competing forces of populism and elitism, and the ongoing debate about the role of the arts in society. It serves as a detailed case study not only for an American arts organization, but also for the sustainability and management of nonprofit organizations across the country.

    Simon's same willingness to open his heart to the reader permeates The Play Goes On. This second act takes the reader from the mid-1970s to the present, a period in which Simon wrote some of his most popular and critically acclaimed plays, including the Brighton Beach trilogy and Lost in Yonkers, for which he won the Pulitzer Prize. Simon experienced enormous professional success during this time, but in his personal life he struggled to find that same sense of happiness and satisfaction. After the death of his first wife, he and his two young daughters left New York for Hollywood. There he remarried, and when that foundered he remarried again. Told with his characteristic humor and unflinching sense of irony, The Play Goes On is rich with stories of how Simon's art came to imitate his life. Simon's forty-plus plays make up a body of work that is a long-running memoir in its own right, yet here, in a deeper and more personal book than his first volume, Simon offers a revealing look at an artist in crisis but still able and willing to laugh at himself.

    The photo looks completely out of place on the FBI Ten Most Wanted Fugitives list where it’s been since December, 8, 2007. For eight of those years, Jason appeared directly beside Osama Bin Laden. Bin Laden is long gone, but Jason is still wanted for armed robbery and murder.For years, his sister, Jami D. Brown Martin has watched the true crime programs and read the amateur investigative blogs devoted to Jason, his crime, and the efforts to apprehend him knowing the story wasn’t as simple, nor was it just Jason’s. To be the sister, brother, or relative of one of the world’s most wanted men is to live every day with the horrible truth and many consequences of his brutal act.CENTER OF ATTENTION is the story of a former Mormon missionary turned murderer. It is also a riveting look behind the facade of the genetically blessed, seemingly prominent and pious Brown family of Laguna Beach, California. It is a tale of the family patriarch, John Brown, who disappeared without a trace ten years before his son. More important, it is the gripping and ultimately hopeful story of the sister of one of the world’s most wanted fugitives and her journey to accept that despite being a product of the same crazy environment as her brother, her life and path are her own.

    Defying Gravity takes readers into the creative world of Broadway and film composer Stephen Schwartz, from writing Godspell 's score at age 23 through the making of the megahit Wicked . For this first authorized biography, de Giere draws from 80 hours of interviews with Schwartz and over 100 interviews with his colleagues, friends, and family. Her sympathetic yet frank narrative reveals never-before-told stories and explores both Schwartz's phenomenal hits and expensive flops. The book also includes a series of "Creativity Notes" with insights about artistic life, and more than 200 photographs and illustrations. "In Defying Gravity, Carol de Giere pulls back the curtain and gives us a fascinating glimpse into the creative process of one of the musical theater's greatest wizards." - Stephen Flaherty, Tony-Award winning composer of Ragtime, Seussical, and Once On This Island "This is a fantastic book, scrapbook, story and photo collection." - Broadwayworld.com "Defying Gravity, which takes its name from the Act 1 closer in Wicked, is not just a he-did-this-then-he-did-this biography: de Giere reconstructs the collaborative process that brought Schwartz's works to the Great White Way." - The Journal News "A wonderful read. And the Wicked section provides a comprehensive account of a thoroughly recondite and even mysterious event: the gestation and birth of a phenomenon." - Gregory Maguire, author of Wicked (the novel), Son of a Witch, and A Lion Among Men "Trying to reconstruct the writing process of a musical is nearly impossible. Carol de Giere has captured it." - Winnie Holzman, book writer for Wicked (the musical) "This is a loving, in-depth look at the career and process of one of our most important musical theater writers. I am happy to have it on my shelf." - Lynn Ahrens, Tony Award-winning lyricist of Ragtime "A must-have for any of the composer's many fans." - Theatermania.com

    One of a manager's toughest--and most important--responsibilities is to evaluate an employee's performance, providing honest feedback and clarifying what they've done well and where they need to improve. In How to Be Good at Performance Appraisals, Dick Grote provides a concise, hands-on guide to succeeding at every step of the performance appraisal process--no matter what performance management system your organization uses. Through step-by-step instructions, examples, do-and-don't bullet lists, sample dialogues, and suggested scripts, he shows you how to handle every appraisal activity from setting goals and defining job responsibilities to evaluating performance quality and discussing the performance evaluation face-to-face. Based on decades of experience guiding managers through their biggest challenges, Grote helps answer the questions he hears most often: -How do I set goals effectively? How many goals should someone set?-How do I evaluate a person's behaviors? Which counts more, behaviors or results? -How do I determine the right performance appraisal rating? How do I explain my rating to a skeptical employee?-How do I tell someone she's not meeting my expectations? How do I deliver bad news? Grote also explains how to tackle other thorny performance management tasks, including determining compensation and terminating poor performers. In accessible and useful language, How to Be Good at Performance Appraisals will help you handle performance appraisals confidently and successfully, no matter the size or culture of your organization. It's the one book you need to excel at this daunting yet critical task.

    But in the late 1960s, Barbara’s extraordinary talent onstage was threatened by debilitating depression and alcoholism that forced her to step away from the limelight and out of the public life. Emerging from the shadows in the early 1970s, Barbara reinvented herself as the country’s leading concert and cabaret artist, performing the songs of Stephen Sondheim and other masters, while establishing a reputation as one of the greatest and most acclaimed interpreters of the American songbook.Taking us deep into her life and career, from her childhood in the South to the Great White Way, Then and Now candidly and poignantly describes both her personal difficulties and the legendary triumphs, detailing the extraordinary working relationships she shared with many of the key composers, musicians, actors and performers of the late twentieth century, among them Sondheim, Leonard Bernstein, Elaine Stritch, and Robert Preston.Hailed by the Financial Times of London as "the greatest singer in the world",  but preferring to think of herself as "a work in progress", Barbara Cook here delivers a powerful, personal tale of pain and triumph, as straight forward, unflinchingly honest, and open hearted as her singing.

    They cannot act adjectives, they need verbs. This thesaurus of active verbs helps the actor to refine the action-word until they hit exactly the right one to make the action come alive.

    The first part of what has come to be known as the Mercer Series, Leaving Home tells the story of a Newfoundland family that has emigrated and lost all sense of its place in the world.Leaving Home was named one of the "100 Most Influential Canadian Books" by the Literary Review of Canada.