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

    

    He is without a male heir, and the future of the English throne hangs in the balance. Powerful men, such as Cromwell, Lord Percy and the Dukes of Norfolk and Suffolk vie for power. Into this world rides Captain Will Draper, a soldier fresh from the wars, and with an important message. Cardinal Wolsey is dead. Intrigue follows intrigue, and Will finds himself in a race to uncover a murderer. The politics and chicanery of court life threaten to ruin his investigation, and leave the way clear for the most heinous crime of all. This is the debut novel of Anne Stevens, and captures Tudor England in all its moods: Palaces, fine houses, Bawds, rich nobles and the poorest, all mingle to create an atmospheric book that entwines historical fact with fast paced fiction. Winter King is a whodunnit not to be missed.

    But it turns out there are challenges one can't imagine when collaborating with two rock legends and a superstar director to stage the biggest, most expensive production in theater history. Song of Spider-Man is playwright Glen Berger's story of a theatrical dream - or nightmare - come true. Renowned director Julie Taymor picked Berger to cowrite the book for a $25 million Spider-Man musical. Together - along with U2's Bono and Edge - they would shape a work that was technically daring and emotionally profound, with a story fueled by the hero's quest for love - and the villains' quest for revenge. Or at least, that's what they'd hoped for. But when charismatic producer Tony Adams died suddenly, the show began to lose its footing. Soon the budget was ballooning, financing was evaporating, and producers were jumping ship or getting demoted. And then came the injuries. And then came word-of- mouth about the show itself. What followed was a pageant of foul-ups, falling-outs, ever-more-harrowing mishaps, and a whole lot of malfunctioning spider legs. This "circus-rock-and-roll-drama," with its $65 million price tag, had become more of a spectacle than its creators ever wished for. During the show's unprecedented seven months of previews, the company's struggles to reach opening night inspired breathless tabloid coverage and garnered international notoriety. Through it all, Berger observed the chaos with his signature mix of big ambition and self-deprecating humor. Song of Spider-Man records the journey of this cast and crew as a hilarious memoir about friendship, collaboration, the foibles of hubris, and the power of art to remind us that we're alive.

    Theatre script, playbook

    At eleven years-old, she has survived sickness, near starvation and harsh beatings.Master Simpkins and his cruel daughter rule the workhouse with a rod of iron, but when Romany boy, Joe, arrives at the workhouse, his spirit and courage give Eliza hope that another life is waiting for her outside.When she is sold into service, Eliza is relieved to be out of the workhouse and hopes her fortunes are changing for the better, but cruelty and unkindness are everywhere and her salvation could become her ruin…

    The resulting interviews, set against the historical backdrop of both the club and the city, provide a vivid portrait of life at Liverpool during an era when the club's unparalleled on-pitch success often went hand in hand with a boozy social scene fraught with rows, fights, and wind-ups. Former Liverpool players John Barnes, Bruce Grobbelaar, Howard Gayle, Michael Robinson, John Wark, Kevin Sheedy, Nigel Spackman, Steve Staunton, David Hodgson, and Craig Johnston, as well as first-team coach Ronnie Moran, all candidly recollect their memories of this exciting time in Liverpool Football Club's history.

    

    When Daphna’s cousin Liam brings home his shiksa girlfriend Melody and declares ownership of their grandfather’s Chai necklace, a vicious and hilarious brawl over family, faith and legacy ensues.

    As the play begins, Dorothea has suffered a stroke, and while Echo has reestablished contact with her mother, it is only through extended telephone conversations, during which real issues are skirted and their talk is mostly about the precocious Echo's single-minded domination of a national spelling contest. But, in the end, after Dorothea's death, both Artie and Echo come to accept their mutual need and summon the courage to try, at last, to build a life together-despite the risks and terrors that this holds for both of them after so many years of alienation and estrangement.

    It often begins in childhood in a darkened theater, grows into something more serious for high school actors, and reaches its passionate zenith when it comes time for love, marriage, and children, who will start the cycle all over again. Americans love musicals. Americans invented musicals. Americans perfected musicals. But what, exactly, is a musical?In The Secret Life of the American Musical, Jack Viertel takes them apart, puts them back together, sings their praises, marvels at their unflagging inventiveness, and occasionally despairs over their more embarrassing shortcomings. In the process, he invites us to fall in love all over again by showing us how musicals happen, what makes them work, how they captivate audiences, and how one landmark show leads to the next—by design or by accident, by emulation or by rebellion—from Oklahoma! to Hamilton and onward.Structured like a musical, The Secret Life of the American Musical begins with an overture and concludes with a curtain call, with stops in between for “I Want” songs, “conditional” love songs, production numbers, star turns, and finales. The ultimate insider, Viertel has spent three decades on Broadway, working on dozens of shows old and new as a conceiver, producer, dramaturg, and general creative force; he has his own unique way of looking at the process and at the people who collaborate to make musicals a reality. He shows us patterns in the architecture of classic shows and charts the inevitable evolution that has taken place in musical theater as America itself has evolved socially and politically.The Secret Life of the American Musical makes you feel as though you’ve been there in the rehearsal room, in the front row of the theater, and in the working offices of theater owners and producers as they pursue their own love affair with that rare and elusive beast—the Broadway hit.

    It was first staged in 1976 at the Royal Court Theatre Upstairs and revived at the National Theatre in 1996.Caryl Churchill has written for the stage, television and radio. A renowned and prolific playwright, her plays include Cloud Nine, Top Girls, Far Away, Drunk Enough to Say I Love You?, Bliss, Love and Information, Mad Forest and A Number. In 2002, she received the Obie Lifetime Achievement Award and 2010, she was inducted into the American Theater Hall of Fame.

    In this authorized, affectionate biography, the first time she has cooperated in the telling of her story, Dench talks of those who have most influenced her work and her way of life and reflects upon her most illustrious career, including her recent ascent to superstar status in America.

    His identity is the subject of feverish speculation in the media, fuelled by his regular appearances at West End opening nights in costume, wig and latex mask. He has become a genuine theatre impresario, launching talent competitions Search for a Twitter Star and its successor, Search for a Twitter Composer.And now, West End Producer is ready to share all he's learnt about how to get ahead in show business, in the form of a handy paperback book.Full of the wit and mischievous indiscretion that has gained him such a cult following, packed with gossip and insider knowledge of the theatre business, and containing enough savvy advice on acting to kickstart a career, West End Producer's book offers tips (both practical and deliciously impractical) on: Getting into drama school (learning how to sit in a circle) Auditioning (perfecting the 'staring vacantly out front' pose) Rehearsals techniques (including how to act in a serious play) The different kinds of actor (from sex pest to company idiot) Combating boredom (and avoiding backstage naughtiness) How to behave at first-night parties (obeying the traffic-light colour code) And, most importantly, the correct way to bow at the curtain callAlso included in the book are many of West End Producer’s most memorable tweets, miniature comic salvos despatched with all the shrewdness of a man who truly knows his Barrowmans from his Balls."Prepare to be shocked, rocked and mocked in this genuinely laugh-out-loud-funny, lovingly crafted, meticulously researched, spookily insightful and accurately spelled guide to all things thespian." Michael Ball"Don’t even consider putting your daughter on the stage, Mrs Worthington, until you’ve first consulted this wonderful book." Paul O’Grady

    The key to A Theater of Envy is Rene Girard's novel reinterpretation ofmimesis. For Girard, people desire objects not for their intrinsic value, but because they are desired by someone else--we mime or imitate their desires. This envy--or mimetic desire--he sees as one of the foundations of the human condition. Bringing such provocative and iconoclastic insights to bear on Shakespeare, Girard reveals the previously overlooked coherence of problem plays like Troilus and Cressida, and makes a convincing argument for elevating A Midsummer Night's Dream from the status of a chaotic comedy to amasterpiece. The book abounds with novel and provocative interpretations: Shakespeare becomes a prophet of modern advertising, and the threat of nuclear disaster is read in the light of Hamlet. Most intriguing of all, perhaps, is a brief, but brilliant aside in which an entirely new perspectiveis brought to the chapter in Joyce's Ulysses in which Stephen Dedalus gives a lecture on Shakespeare. In Girard's view only Joyce, perhaps the greatest of twentieth-century novelists, comes close to understanding the greatest of Renaissance playwrights. Throughout this impressively sustained reading of Shakespeare Girard's prose is sophisticated, but contemporary, and accessible to the general reader. Anyone interested in literature, anthropology, or psychoanalysis will want to read this challenging book. And all those involved in theatricalproduction and performance will find A Theater of Envy full of suggestive new ideas.