Theatre Books: Online Versions & Excerpts

"Hooks uses basic acting theory to explain everything from character movement and facial expressions to interaction and scene construction. Just as acting on film and on stage are very different disciplines, so is the use of acting theory in creating an animated character, scene or story. Acting for Animators is full of essential craft tips from an acting master. New to this Routledge edition: - scene-by-scene analyses of six films, including Up, Coralineand Kung Fu Panda - an expanded chapter on video game animation - all-new illustrations - a 500 word history of acting"

"This carefully revised 21st Century Edition (re)considers, in the context of today's field: questions such as 'should actors act from the inside or the outside?' and 'should the actor live the role or present the role?'; contemporary research into communication theory, cybernetics, and cognitive science; brilliantly illuminating and witty exercises for solo study and classroom use, and a through-line of useful references to classic plays; penetrating observations about the actor's art by more than 75 distinguished professional actors and directors."

another online version
Contents: 1. The "Given Circumstances" 2. Emotional Control: Lee Strasberg as "Big Daddy" of the Method 3. Script Analysis: Stella Adler’s Feminist Subtext 4. Exercises in Repetition: Sanford Meisner and "Instinct" 5. Respect for the Actress: Uta Hagen on Playing Female Roles 6. The "Magic If": Forward-Looking Conclusions

"This title situates the work of renowned voice and movement trainer Arthur Lessac in the context of contemporary actor training. Supported by the work of Constantin Stanislavsky and Maurice Merleau-Ponty's theories of embodiment, the book explores Lessac's practice in terms of embodied acting, a key subject in contemporary performance. In doing so, the author explains how the actor can come to experience both skill and expression as a subjective whole through active meditation and spatial attunement."

"Auditioning On Camera sets out the key elements of a successful on-camera audition and explains how to put them into practice. Joseph Hacker draws on 35 years of acting experience to guide the reader through the screen auditioning process with an engaging and undaunting approach. Key elements examined include: -- textual analysis -- knowing where to look -- dealing with nerves -- on-camera interviews -- using the environment -- retaining the camera’s focus"

Part 1 BEFORE: 1 How a Production is Cast; 2 Where to Find Auditions; 3 Preparation & Research; 4 Submitting Yourself for Work; 5 Showreels; 6 Showcases; 7 Networking; 8 Agents; 9 Audition Log; 10 Audition Wardrobe; 11 Perceptions; 12 The Power of Positive Thinking; 13 Gatecrashing
Part 2 DURING: 14 Entrances & Exits; 15 Nerves; 16 Drama & Theatre Schools; 17 Amateur vs Professional; 18 Theatre; 19 Musical Theatre; 20 Actor Musicians; 21 Recalls & Workshop Auditions; 22 Television; 23 Films & Screen Tests; 24 Self Taping; 25 Commercial Castings; 26 Roleplay; 27 Corporate Training Films; 28 Radio Drama; 29 Voice Work; 30 Presenting; 31 Interview Technique; 32 Awkward Questions; 33 Is Timing Everything?; 34 In the Mood; 35 Friend or Foe?; 36 Actors Who Know Too Much; 37 Same Old Faces; 38 Recasts; 39 The Casting Couch
Part 3 AFTER: 40 Red Letter Days; 41 Success; 42 Negotiation; 43 Rejection; 44 Follow Ups; 45 Turning Down Work; 46 Help! What if...?; 47 A Diary of an Audition; 48 Final Thoughts

ch4ck availability of print edition
Contents: Toward a physical characterization -- Dressing a character -- Characters and types -- Making the body expressive -- Plasticity of motion -- Restraint and control -- Diction and singing -- Intonations and pauses -- Accentuation: the expressive word -- Perspective in character building -- Tempo-rhythm in movement -- Speech tempo-rhythm -- Stage charm -- Toward an ethics for the theatre -- Patterns of accomplishment -- Some conclusions on acting.

"Crossing the Stage brings together for the first time essays which explore cross-dressing in theatre, cabaret, opera and dance. The volume contains seminal pieces which have become standard texts in the field, as well as new work especially commissioned from leading writers on performance."

Introduction -- Why should theatre people be interested in cognitive studies? -- How does the actor communicate meaning non-verbally? -- What is the relationship between thought, physical action, and language? -- How does the actor create a character? -- How does the actor identify with the character? -- How does the actor embody emotion in fictional circumstances? -- Conclusion

Part 1: Prologue 1. Introduction to the Method 2. Overview of the Method 3. Introduction to the Actor Part 2: Principles of Expressive Action 4. Expressive Action 5. Expressive Action in Context 6. Architecture of an Expressive Action Part 3: Principles of Integration 7. Integration Part 4: Stacking 8. Introduction to Stacking 9. Moving 10. Breathing 11. Sounding 12. Speaking 13. Extending the Barre Part 5: Technique 14. Preliminaries 15. Voice and Body Exercises 16. Language and Character Exercise Epilogue Appendix I: Expressive Continuum Appendix II: Actions Bibliography

1. How does learning happen? -- 2. The via negativa -- 3. Questions and questioning -- 4. Listening -- 5. Feedback -- 6. Resistance -- 7. Transference -- 8. Cultures of oppression and resistance -- 9. Eros et charitas -- 10. The broken heart -- 11. No mistakes -- 12. Power and control -- 13. Silence -- 14. What are we really teaching?

"In presenting their comprehensive definition of improvisation, the authors consider developments in improvisation in the arts since 1945 by particularly emphasising process and technique and by featuring artists in all media, from Grotowski and Laurie Anderson to Goldsworthy. Their approach is analytical and theoretical, but it is also relevant to practitioners and their audience. For Smith and Dean improvisation has been of great importance and value in the contemporary arts because of its potential to develop new forms, often by breaking existing definitions: indeed they see hypermedia and interactive technologies as playing a key role in dissolving the audience/creator separation which exists especially in Western society, though often less in other cultures."

In the world: A flexible rehearsal program that can be employed daily, as well as over a typical four week production rehearsal.
In the room: Advice on working independently and productively with other members of a company, such as directors, playwrights, designers and technical crew; how your personal creative process varies depending on the role, be it Shakespeare, musicals, film, television or understudying.
On your own: Creating your own rehearsal process, exploring original and famous rehearsal techniques, breaking through actor's block and how to practice every day.

Part 1. What is an Integrative Performer?
Part 2. Centre, Presence and the Initiation of Task: Toward an Integrated Way of Doing
Part 3. The Integrated Centre
Part 4. An Active Architecture: Engaging with Text, from Centre with Awareness

ch4ck availability of print edition
Never before published transcripts from Lee Strasberg's teachings at his school in New York City in the last ten years of his life.
Part 1. Training and exercises -- Part 2. Characters and scenes -- Part 3. Scene critiques -- Part 4. Directing and the method -- Part 5. Lee Strasberg on Shakespeare and Stanislavski -- Part 6. Lee Strasberg on the theater, acting, and actors.

Introduction -- The aims of the technique -- The principles -- The tools -- Application -- Mastery of the technique

"This is a book about the experience of being an actress from a professional and female perspective. Julia Varley has been a member of Odin Teatret for over thirty years, and Notes from an Odin Actress is a personal account of her work with Eugenio Barba and this world-renowned theatre company."

"Judith Malina and The Living Theatre have been icons of political theatre for over six decades. What few realise is that she originally studied under one of the giants of twentieth century culture, Erwin Piscator, in his Dramatic Workshop at The New School in New York. Piscator founded the Workshop after emigrating to New York, having collaborated with Brecht to create "epic theatre" in Germany. The Piscator Notebook documents Malina's intensive and idiosyncratic training at Piscator's school. Part diary, part theatrical treatise, this unique and inspiring volume combines: complete transcriptions of Malina's diaries from her time as a student at the Dramatic Workshop, as well as reproductions of various of Piscator's syllabi and teaching materials; notes on Malina's teachers, fellow students - including Marlon Brando and Tennessee Williams - and New School productions; studies of Piscator's process and influence, along with a new essay on the relationship between his teaching, Malina's work with the Living Theatre and "The Ongoing Epic"; an introduction by performance pioneer, Richard Schechner."

another online version
"From Komisarjevsky in the 1920s, to Cheek by Jowl's Russian 'sister company' almost a century later, Russian actor training has had a unique influence on modern British theatre. Russians in Britain, edited by Jonathan Pitches, is the first work of its type to identify a relationship between both countries' theatrical traditions as continuous as it is complex."

In The Science of Acting,Sam Kogan uses his theories on the relationship between neuroscience, psychology and acting to answer these questions. Practical exercises provide a step-by-step guide to developing an actor's ability, culminating in Ten Steps to Creating a Character. "

"When working through a scene with a student, renowned actor and acting teacher Al Ruscio will ask, so therefore, what? to urge them to capture the specific actions and desires that define their character at that moment. So Therefore interweaves tried-and-tested practical exercises with sound advice, and illustrative tales from Ruscio's remarkable career, to form a training handbook as uniquely pragmatic as his favourite phrase. Breaking down his method into three broad focuses, Ruscio considers: Warming Up including relaxation, going beneath the words and emotional recall; Scene Work ranging from character analysis to an exploration of action; The Play discovering its spine, progressing through rehearsals and sustaining a performance."

1. Stanislavski’s Life and Context 2. An Actor’s Work: Basic Training 3. An Actor’s Work: Analysis of the Play 4. An Actor’s work: Consolidation and spontaneity 5. An Actor’s work: Embodiment of the role 6. Stanislavski’s Legacy and Influence Chronology Glossary Bibliography Appendix 1: Synopsis of and extract from Tennessee Williams (2009) The Glass Menagerie, London: Penguin, Characters and Scene One pp xv-9 lines 1- 136 Appendix 2: Synopsis of Arthur Miller’s Death of a Salesman, Certain Private Conversations in Two Acts and a Requiem

"Laurence Senelick, one of the world's foremost scholars of Russian literature, mines the Moscow archives and the definitive Russian edition of Stanislavsky's letters, to produce the fullest collection of the letters in any language other than Russian. He sheds new light on this fascinating field. Senelick takes us from the earliest extant letter of an eleven-year-old Konstantin in 1874, through his work as actor, director and actor trainer with the Moscow Art Theatre, to messages written just before his death in 1938 at the age of seventy-five."

"Stanislavsky in America explores the extraordinary legacy that Constantin Stanislavski's system of actor-training has left on acting in the US. Mel Gordon outlines the journey of Stanislavski's theories through twentieth century American history, from the early US tours of the Moscow Art Theatre to the ongoing impact of 'The System' on modern American acting. This fascinating study by a leading theatre critic and practitioner provides hundreds of original acting exercises, used by the pivotal US figures who developed his teachings, such as Lee Strasberg, Stella Adler and Bobby Lewis."

Contents: Introduction -- Basic firearms -- Choose your weapons! -- Acquiring props -- Backstage protocol & gun wrangling -- Looking the part -- Staging your shootout -- Shooting your shootout -- Troubleshooting -- Consequences -- Realities of modern combat -- Covering yourself (legal issues)

"This comprehensive collection provides theoretical accounts of the grounds and phenomenon of film acting. The volume features entries by some of the most prominent scholars on film acting who collectively represent the various theoretical traditions that constitute the discipline of film studies. Each section proposes novel ways of considering the recurring motifs in academic enquiries into film acting, including: (1) the mutually contingent problematic of description and interpretation, (2) the intricacies of bodily dynamics and their reception by audiences, (3) the significance of star performance, and (4) the impact of evolving technologies and film styles on acting traditions."

"One of the original members of Jerzy Grotowski's acting company, Zygmunt Molik'sVoice and Body Work explores the unique development of voice and body exercises throughout his career in actor training. This book, constructed from conversations between Molik and author Giuliano Campo, provides a fascinating insight into the methodology of this practitioner and teacher, and focuses on his 'Body Alphabet' system for actors, allowing them to combine both voice and body in their preparatory process."

"Acting Reframes presents theatre and film practitioners with a methodology for using Neuro-Linguistic Programming (NLP) as a tool to aid their practice. Author Robert Barton uses the NLP approach to illustrate a range of innovative methods to help actors and directors, including: * reducing performance anxiety * enabling clearer communication * intensifying character analysis * stimulating imaginative rehearsal choices."

"Acting: The First Six Lessons was first published in 1933 and remains a key text for anyone studying acting today. These dramatic dialogues between teacher and idealistic student explore the field of acting according to one of the original teachers of Stanislavsky s System in America."

"Book of Sides: Original, Short Scenes for Actors and Directors offers scenes that are considerably shorter than those in similar books but still feature the structure of typical scenes with arcs, clear playable objectives, and stakes for both actors. Here you will find scenes that are: One-page in length and specially designed for new, high-intensity exercises that help students develop quickly Printed in an easily readable, film-script format that provides plenty of room for annotations Completely original, allowing you to produce and distribute reinterpretations without worrying about copyright restrictions Universally castable, with roles that can be assigned to actors regardless of gender, appearance, skill level, or race Simple and conducive to performing in the classroom without props, costumes, or sets Perfect for audition workshops and crowded directing or acting classes where everyone wants an opportunity to perform."

Introduction. Chapter 1: What is Ensemble? Chapter 2: Anthropology of Ensemble Chapter 3: Leading Ensemble Chapter 4: Creating Ensemble Chapter 5: Archetypes Within Ensemble Chapter 6: Mending and Maintaining Ensemble Chapter 7: Ensemble Making: Specific Recipes. Conclusion

another online version
Part one: vakhtangov on theatre, actor training and an actor’s creative process; Part two: fantastic realism; Part three: popular theatre; Part four: transfiguring the stanislavsky system; Part five: from director’s diaries - towards the Theatre of the mystery; Part six: vakhtangov at the moscow art theatre; Part seven: vakhtangov rehearses; Part eight: correspondence with colleagues

"In 1939, a young, inexperienced actor wrote to a famous actress of his acquaintance, asking for advice on playing comedy. She responded enthusiastically, and they corresponded variously over the next year. The Craft of Comedy, a record of these exchanges, soon emerged as one of the few classic texts in the field of comedy acting."

Introduction -- Forerunners : Dorothy Parker, Dawn Powell, Betty MacDonald -- Nora Ephron : all you ever wanted to know about control (but feared you'd appear too manipulative if you asked) -- Shirley Jackson : "in the country of the story, the writer is king" -- Alison Lurie : "writing was a kind of witch's spell" -- Grace Paley : "the ear is smarter than the eye" -- Anne Tyler : seeing through a "mist of irony" -- Lisa Alther : playing for the laugh: comic control in Kinflicks -- Rita Mae Brown : "an equal opportunity offender" -- Conclusion : what wit controlled

"Draping Period Costumes provides you with the skill set you need to break away from two-dimensional patterns to drape three dimensional costumes. The basics of draping are explained in precise detail, followed by step-by-step draping projects from multiple historical periods."

"Chapters begin with artwork of historic figures that influenced the look of each period. Detailed step-by-step instructions explain how to create their iconic hairstyles, illustrated by photographs showing the finished look from every angle."

"Chapters begin with artwork of historic figures that influenced the look of each period. Detailed step-by-step instructions explain how to create their iconic hairstyles, illustrated by photographs showing the finished look from every angle."

ch4ck availability of print version
A. Designers; B. Performing Arts; C. Ballet & Dance in the Western World; D. Opera, Operetta, Music Theatre in the Western World; E. Commedia Dell'Arte; F. Masquerade, Carnival, Fancy Dress; G. Instruction; H. Reference; I. Iconography; J. Indexes

Part 1 1. Space 2. Motion 3. Time
Part 2 4. Deciding to be a director 5. Choosing the play 6. Reading a play 7. Casting the play 8. Rehearsing the actors 9. Fluid Staging 10. Specialist Skills 11. Technical Rehearsals 12. Final Work in the Rehearsal Room 13. The Final Ingredient
Part 3 14. Kwoth

"Book of Sides: Original, Short Scenes for Actors and Directors offers scenes that are considerably shorter than those in similar books but still feature the structure of typical scenes with arcs, clear playable objectives, and stakes for both actors. Here you will find scenes that are: One-page in length and specially designed for new, high-intensity exercises that help students develop quickly Printed in an easily readable, film-script format that provides plenty of room for annotations Completely original, allowing you to produce and distribute reinterpretations without worrying about copyright restrictions Universally castable, with roles that can be assigned to actors regardless of gender, appearance, skill level, or race Simple and conducive to performing in the classroom without props, costumes, or sets Perfect for audition workshops and crowded directing or acting classes where everyone wants an opportunity to perform."

"The Casting Handbook" explains the casting process from beginning to end and covers everything producers and directors needs to know as well as proving a fascinating and illuminating read for actors. The book explores: -how to prepare a breakdown -where to source actors -how to prepare for a casting session -how to make casting decisions -how a cast is put together -how deals are done -ethics and the law, with special reference to casting children -how a casting director contributes to the initial development of the script -how the casting works from fringe theatre to Hollywood blockbusters "The Casting Handbook" considers actors, producers, agents and directors relationship with a casting director, the day to day work that is casting, and how approaching it in a professional and informed manner can make the difference to the final product. "

another online version
1. Ariane Mnouchkine: activism, formalism, cosmopolitanism - Brian Singleton 2. Patrice Chéreau: staging the European crisis - David Fancy 3. Lev Dodin: the director and cultural memory - Peter Lichtenfels 4. Silviu Purcărete: contemporising classics -Aleksandar Sasha Dundjerovic 5. Frank Castorf and the Volksbühne: Berlin’s theatre of deconstruction - Marvin Carlson 6. Daniel Mesguich: ‘unsummarisable’ mises en scene - Jim Carmody 7. Declan Donnellan and Cheek by Jowl: ‘to protect the acting’ - Aleks Sierz 8. Piotr Borowski and Poland’s Studium Teatralne, Poland: where process becomes performance - Paul Allain 9. Christoph Marthaler: the musicality, theatricality and politics of postdramatic direction - David Barnett 10. Jan Lauwers: performance realities — memory, history, death - Janelle Reinelt 11. Simon McBurney: shifting under/soaring over the boundaries of Europe - Steve Knapper 12. Romeo Castellucci: the director on this earth - Alan Read 13. Kristian Frédric: boxing with the ‘gods’ - Judith G. Miller 14. Calixto Bieito: staging excess in, across and through Europe - Maria M. Delgado 15. Rodrigo García and La Carniceria Teatro: from the collective to the director - Lourdes Orozco 16. Katie Mitchell: learning from Europe - Dan Rebellato 17. Thomas Ostermeier: mission neo(n)realism and a theatre of actors and authors - Peter Boenisch Postscripts 18. Thomas Ostermeier: on Europe, theatre, communication and exchange - James Woodall 19. Peter Sellars: identity, culture and the politics of theatre in Europe - Maria M. Delgado 20. The director’s new tasks - Patrice Pavis

Introduction Five Phases of Directing a Musical: Conception, Collaboration, Rehearsal, Production, Performance What is a Musical? Conventions of the Musical Theatre How To Use This Guide The First Phase: Conception Timetable One 1. Preparing for Collaboration 2. Imagining The Chorus The Second Phase: Collaboration Timetable Two 3. Choreographic Collaboration 4. Directing the Design The Third Phase: Rehearsal Timetable Three 5. Auditions 6. Staging and Coaching The Fourth Phase: Production Timetable Four 7. Moving Into The Theatre The Final Phase: Performance Timetable Five 8. Shaping the Production 9. Opening Night and Beyond

Introduction. Chapter 1: What is Ensemble? Chapter 2: Anthropology of Ensemble Chapter 3: Leading Ensemble Chapter 4: Creating Ensemble Chapter 5: Archetypes Within Ensemble Chapter 6: Mending and Maintaining Ensemble Chapter 7: Ensemble Making: Specific Recipes. Conclusion

In the world: A flexible rehearsal program that can be employed daily, as well as over a typical four week production rehearsal.
In the room: Advice on working independently and productively with other members of a company, such as directors, playwrights, designers and technical crew; how your personal creative process varies depending on the role, be it Shakespeare, musicals, film, television or understudying.
On your own: Creating your own rehearsal process, exploring original and famous rehearsal techniques, breaking through actor's block and how to practice every day.

another online version
Contents: 1 The empty ritual; 2 Organic dramaturgy as a level of organisation; 3 Narrative dramaturgy as a level of organisation; 4 Evocative dramaturgy as a level of organisation; 5 Theatre-in-liberty

"Di Benedetto considers theatrical practice through the lens of contemporary neuroscientific discoveries in this provoking study, which lays the foundation for considering the physiological basis of the power of theatre practice to affect human behavior. He presents a basic summary of the ways that the senses function in relation to cognitive science and physiology, offering an overview of dominant trends of discussion on the realm of the senses in performance. Also presented are examples of how those ideas are illustrated in recent theatrical presentations, and how the different senses form the structure of a theatrical event. Di Benedetto concludes by suggesting the possible implications these neuroscientific ideas have upon our understanding of theatrical composition, audience response, and the generation of meaning."

"Anne Bogart is an award-winning theatre maker, and a best-selling writer of books about theatre, art, and cultural politics. In this her latest collection of essays she explores the story-telling impulse, and asks how she, as a product of postmodernism, can reconnect to the primal act of making meaning and telling stories. She also asks how theatre practitioners can think of themselves not as stagers of plays but orchestrators of social interactions and participants in an on-going dialogue about the future."

Introduction to the series -- Acknowledgements -- List of plates -- Preface -- 1. Stillness -- 2. Being clothing -- 3. Mimicry and repetition -- 4. The Other and the other -- 5. Inconsistency, catastrophe and surprise -- 6. Cathexes and chaos -- 7. Drives and primaries -- 8. Transitions as desires -- 9. Transference, substitution and reversal -- 10. Language -- 11. Time and space -- 12. Cathexes of desire -- 13. Looking at light -- 14. Presence or puppeteering -- 15. Conclusion -- Appendices -- Bibliography -- Index

FRIDAY - Origins - Arrive at the Doing by Doing workshop to be greeted by Rosenthal, pioneering theatre explorer and your host for the weekend ahead. Explore non-human ways of living and moving. Begin to develop a shared vocabulary with your fellow students through exercises.
SATURDAY - Connections - Continue to connect with the group on an energetic level. Make the journey from Kansas to OZ. Collaborate and create as a group, moving and vocalising without language. Improvise boldly at every step. Treat music, voice, lighting, costume, sets, props and fellow performers as equals.
SUNDAY - Power - Learn to arrive in the moment when you are needed. Engage with transformative processes and take part in the Star Meditation. Understand your own individual power, joining your physical and emotional self. Perform solo improvisations and the Rambler – the final, extended culmination of everything that you have learned through the 34 hour experience.

"In Exercises for Rebel Artists, Guillermo Gomez-Pena and Roberto Sifuentes use their extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create 'border art'. Designed to take readers right into the heart of radical performance, the authors use a series of crucial practical exercises, honed in workshops worldwide, to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity."

Preface 1: Restless Corporealities - Simon Donger Preface 2: The Matter of ORLAN - Simon Shepherd The Triumph of the Folds - Christine Buci-Glucksmann Part 1: Seminal Archives Poetic Bio 1967: MesuRage 1977: The Kiss of the Artist 1979: Drapery-The Baroque 1982: Mise-en-Scène pour un grand Fiat 1989: Carnal Art Manifesto 1990: The Reincarnation of Saint ORLAN Part 2: Open Bodies This Is My Body…This Is My Software - ORLAN ORLAN Undraped - Catherine Petitgas Incisive Acts - Gianna Bouchard Carnival in ORLAN - Howard Caygill Psychic Weight - Dominic Johnson Part 3: Hybrid Bodies In Retrospect - ORLAN ORLAN-Archipelago - Sarah Wilson The Gift to Art - Stéphane Malysse Performing the Transfacial Body - Markus Hallensleben & Jens Hauser Carnal Vertigos - Simon Donger Part 4: Current Dialogues ORLAN/Hans-Ulrich Obrist ORLAN/Paul Virilio ORLAN/Sander L. Gilman

Prologue: Pacing in Public; 1 Performance, Aesthetics, and Support; 2 Quality Time: Social Practice Debates in Contemporary Art; 3 High Maintenance: The Sanitation Aesthetics of Mierle Laderman Ukeles; 4 Staged Management: Theatricality and Institutional Critique; 5 Tech Support: Labor in the Global Theatres of The Builders Association and Rimini Protokoll; 6 Welfare Melancholia: The Public Works of Michael Elmgreen and Ingar Dragset; 7 Unfederated Theatre: Paul Chan Waiting in New Orleans; Epilogue: Dependent Care

Though development researchers have proven that the participation of women is necessary for effective sustainable development, development practitioners still largely lack culturally appropriate, gender-sensitive tools for including women, especially women living in poverty. Current tools used in the development approach often favour the skill set of the development practitioner and are a mismatch with the traditional, gendered knowledge and skills many women who are living in poverty do have. This study explores three case studies from India, Ethiopia, and the Guatemala that have successfully used applied theatre for women s participation in sustainable development."

Part 1 BEFORE: 1 How a Production is Cast; 2 Where to Find Auditions; 3 Preparation & Research; 4 Submitting Yourself for Work; 5 Showreels; 6 Showcases; 7 Networking; 8 Agents; 9 Audition Log; 10 Audition Wardrobe; 11 Perceptions; 12 The Power of Positive Thinking; 13 Gatecrashing
Part 2 DURING: 14 Entrances & Exits; 15 Nerves; 16 Drama & Theatre Schools; 17 Amateur vs Professional; 18 Theatre; 19 Musical Theatre; 20 Actor Musicians; 21 Recalls & Workshop Auditions; 22 Television; 23 Films & Screen Tests; 24 Self Taping; 25 Commercial Castings; 26 Roleplay; 27 Corporate Training Films; 28 Radio Drama; 29 Voice Work; 30 Presenting; 31 Interview Technique; 32 Awkward Questions; 33 Is Timing Everything?; 34 In the Mood; 35 Friend or Foe?; 36 Actors Who Know Too Much; 37 Same Old Faces; 38 Recasts; 39 The Casting Couch
Part 3 AFTER: 40 Red Letter Days; 41 Success; 42 Negotiation; 43 Rejection; 44 Follow Ups; 45 Turning Down Work; 46 Help! What if...?; 47 A Diary of an Audition; 48 Final Thoughts

"In 1939, a young, inexperienced actor wrote to a famous actress of his acquaintance, asking for advice on playing comedy. She responded enthusiastically, and they corresponded variously over the next year. The Craft of Comedy, a record of these exchanges, soon emerged as one of the few classic texts in the field of comedy acting."

Introduction Five Phases of Directing a Musical: Conception, Collaboration, Rehearsal, Production, Performance What is a Musical? Conventions of the Musical Theatre How To Use This Guide The First Phase: Conception Timetable One 1. Preparing for Collaboration 2. Imagining The Chorus The Second Phase: Collaboration Timetable Two 3. Choreographic Collaboration 4. Directing the Design The Third Phase: Rehearsal Timetable Three 5. Auditions 6. Staging and Coaching The Fourth Phase: Production Timetable Four 7. Moving Into The Theatre The Final Phase: Performance Timetable Five 8. Shaping the Production 9. Opening Night and Beyond

Introduction. Chapter 1: What is Ensemble? Chapter 2: Anthropology of Ensemble Chapter 3: Leading Ensemble Chapter 4: Creating Ensemble Chapter 5: Archetypes Within Ensemble Chapter 6: Mending and Maintaining Ensemble Chapter 7: Ensemble Making: Specific Recipes. Conclusion

Introduction: About Gorilla Repertory Theatre Company, Inc, by Rep Manifesto; 1 Concept and Location; 2 Scouting; 3 Establishing Corporate Culture; 4 Casting; 5 Rehearsal Techniques; 6 Paratheatric Rehearsal Technique; 7 On-Site Directing and Operational Practices; 8 Organizational Approaches; 9 Documentation Practices; 10 Design Issues and Aesthetic Practice; 11 Indoor Environmental or Action Theatre; 12 Moving a Show; 13 Notes and Observations; 14 Spirituality

another online version
Contents: 1 A very good place to start: The beginning, up to the eighteenth century; 2 Early musical theatre in America, 1735-1865; 3 First stirrings, 1866-1902; 4 The turn of the century, 1900-07: A new era of great American songwriters begins; 5 The Princess and the great revues, 1907-20; 6 The Jazz Age, 1920-29: A period of great songwriters; 7 A double whammy, 1929-39: The Great Depression and talking movies threaten the Broadway musical; 8 A bright golden haze, 1939-45: The American musical comes of age; 9 The Golden Age, 1945-64: An era of great musical dramatists; 10 The search for relevancy, 1964-70; 11 New directions, 1970-82; 12 Joint ventures and mega-musicals, 1982-93: British rule; 13 The corporate musical, 1993-2001; 14 The new millennium, 2001-14

Performer Training is an examination of how actors are trained in different cultures. Beginning with studies of mainstream training in countries such as Poland, Australia, Germany, and the United States, subsequent studies survey: · Some of Asia's traditional training methods and recent experiments in performer training · Eugenio Barba's training methods · Jerzy Grotowski's most recent investigations · The Japanese American NOHO companies attempts at integrating Kyogen into the works of Samuel Beckett · Descriptions of the training methods developed by Tadashi Suzuki and Anne Bogart at their Saratoga International Theatre Institute · Recent efforts to re-examine the role and scope of training, like Britain's International Workshop Festival and the European League of Institutes of Arts masterclasses · The reformulation of the use of emotions in performer training known as Alba Emoting.

"John Arden was one of the major playwrights to have emerged during the 1950s, yet his work has arguably been misunderstood. In this book, first published in 1974, Albert Hunt s primary concern is to relate the plays written by John Arden alone, as well as those written in collaboration with Margaretta D Arcy, both to Arden s whole concept of theatre, and to his social and political attitudes."

Part 1 BEFORE: 1 How a Production is Cast; 2 Where to Find Auditions; 3 Preparation & Research; 4 Submitting Yourself for Work; 5 Showreels; 6 Showcases; 7 Networking; 8 Agents; 9 Audition Log; 10 Audition Wardrobe; 11 Perceptions; 12 The Power of Positive Thinking; 13 Gatecrashing
Part 2 DURING: 14 Entrances & Exits; 15 Nerves; 16 Drama & Theatre Schools; 17 Amateur vs Professional; 18 Theatre; 19 Musical Theatre; 20 Actor Musicians; 21 Recalls & Workshop Auditions; 22 Television; 23 Films & Screen Tests; 24 Self Taping; 25 Commercial Castings; 26 Roleplay; 27 Corporate Training Films; 28 Radio Drama; 29 Voice Work; 30 Presenting; 31 Interview Technique; 32 Awkward Questions; 33 Is Timing Everything?; 34 In the Mood; 35 Friend or Foe?; 36 Actors Who Know Too Much; 37 Same Old Faces; 38 Recasts; 39 The Casting Couch
Part 3 AFTER: 40 Red Letter Days; 41 Success; 42 Negotiation; 43 Rejection; 44 Follow Ups; 45 Turning Down Work; 46 Help! What if...?; 47 A Diary of an Audition; 48 Final Thoughts

Introduction. Chapter 1: What is Ensemble? Chapter 2: Anthropology of Ensemble Chapter 3: Leading Ensemble Chapter 4: Creating Ensemble Chapter 5: Archetypes Within Ensemble Chapter 6: Mending and Maintaining Ensemble Chapter 7: Ensemble Making: Specific Recipes. Conclusion

"In Exercises for Rebel Artists, Guillermo Gomez-Pena and Roberto Sifuentes use their extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create 'border art'. Designed to take readers right into the heart of radical performance, the authors use a series of crucial practical exercises, honed in workshops worldwide, to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity."

Part 1: Prologue 1. Introduction to the Method 2. Overview of the Method 3. Introduction to the Actor Part 2: Principles of Expressive Action 4. Expressive Action 5. Expressive Action in Context 6. Architecture of an Expressive Action Part 3: Principles of Integration 7. Integration Part 4: Stacking 8. Introduction to Stacking 9. Moving 10. Breathing 11. Sounding 12. Speaking 13. Extending the Barre Part 5: Technique 14. Preliminaries 15. Voice and Body Exercises 16. Language and Character Exercise Epilogue Appendix I: Expressive Continuum Appendix II: Actions Bibliography

Part 1. What is an Integrative Performer?
Part 2. Centre, Presence and the Initiation of Task: Toward an Integrated Way of Doing
Part 3. The Integrated Centre
Part 4. An Active Architecture: Engaging with Text, from Centre with Awareness

"This is a book about the experience of being an actress from a professional and female perspective. Julia Varley has been a member of Odin Teatret for over thirty years, and Notes from an Odin Actress is a personal account of her work with Eugenio Barba and this world-renowned theatre company."

"Laurence Senelick, one of the world's foremost scholars of Russian literature, mines the Moscow archives and the definitive Russian edition of Stanislavsky's letters, to produce the fullest collection of the letters in any language other than Russian. He sheds new light on this fascinating field. Senelick takes us from the earliest extant letter of an eleven-year-old Konstantin in 1874, through his work as actor, director and actor trainer with the Moscow Art Theatre, to messages written just before his death in 1938 at the age of seventy-five."

another online version
Contents: 1 Where did mise en scene come from? Origins and theory; 2 On the frontiers of mise en scene; 3 The difference between mise en scene and performance; 4 Tendencies in French scenography; 5 The mise en jeu of contemporary texts; 6 The intercultural trap: rituality and mise en scene in the video art of Guillermo Gomez-Pena; 7 Theatre in another culture: a Korean example; 8 Media on the stage; 9 The deconstruction of postmodern mise en scene; 10 Physical theatre and the dramaturgy of the actor; 11 The splendour and the misery of interpreting the classics; 12 Staging calamity: mise en scene and performance at Avignon 2005; 13 Conclusions: Where is mise en scene going?

1. Prologue: The argument 2. Scene changes: Victorian theater, an acting career and points of departure 3. A rising action: Design and movement 4. Problem drama: Texts and performers 5. A play of ideas: Principles, theory and an Übermarionette 6. Toward a new theater: Masques, screens and a Hamlet 7. The theater of the future: Scene, puppets and a religious festival 8. Final bow: A school and the printed word 9. Curtain call: Craig's vision and contemporary theater 10. Programme notes: Craig on Theater

PART 1: Looking: the experience of seeing
PART 2: Space and Place
PART 3: The Designer: The Scenographic
PART 4: Bodies in Space
PART 5: Making Meaning

"Like the best-selling previous editions, seasoned authors Dancyger and Rush explore alternative approaches to the traditional three-act story structure, going beyond teaching you "how to tell a story" by teaching you how to write against conventional formulas to produce original, exciting material. -- New chapter on the newly popular genres of feature documentary, long-form television serials, non-linear stories, satire, fable, and docudrama -- New chapter on multiple-threaded long form, serial television scripts"

"John Arden was one of the major playwrights to have emerged during the 1950s, yet his work has arguably been misunderstood. In this book, first published in 1974, Albert Hunt s primary concern is to relate the plays written by John Arden alone, as well as those written in collaboration with Margaretta D Arcy, both to Arden s whole concept of theatre, and to his social and political attitudes."

"Edward Bond Letters, Volume IV, focuses on four significant areas of Edward Bond's work: education, imagination and the child; theatre-in-education; At the Inland Sea; language and imagery. The letters represent a coruscating attack on our present society, as well as offering insights into how the situation might be improved. Bond's letters attack modern education, arguing that "children are being educated to sell themselves" and suggesting that social problems are caused by an oppression of the imagination. Many letters refer directly to a play - for instance Tuesday, which presents an assessment of the many difficulties faced by contemporary society. The language and imagery of one of Bond's most recent plays, In the Company of Men, is animatedly discussed, and Bond reminds us in a final description that "the good image is always absent, because it is present in the mind."

1. Prologue: The argument 2. Scene changes: Victorian theater, an acting career and points of departure 3. A rising action: Design and movement 4. Problem drama: Texts and performers 5. A play of ideas: Principles, theory and an Übermarionette 6. Toward a new theater: Masques, screens and a Hamlet 7. The theater of the future: Scene, puppets and a religious festival 8. Final bow: A school and the printed word 9. Curtain call: Craig's vision and contemporary theater 10. Programme notes: Craig on Theater

Introduction -- Forerunners : Dorothy Parker, Dawn Powell, Betty MacDonald -- Nora Ephron : all you ever wanted to know about control (but feared you'd appear too manipulative if you asked) -- Shirley Jackson : "in the country of the story, the writer is king" -- Alison Lurie : "writing was a kind of witch's spell" -- Grace Paley : "the ear is smarter than the eye" -- Anne Tyler : seeing through a "mist of irony" -- Lisa Alther : playing for the laugh: comic control in Kinflicks -- Rita Mae Brown : "an equal opportunity offender" -- Conclusion : what wit controlled

"No study of modern theater is complete without a thorough understanding of the enormous influence of visionary genius Edward Gordon Craig. Born in England in 1872, Craig went on to become famous world-wide as an actor, manager, director, playwright, designer, and most importantly an author and theorist, whose books were translated into German, Russian, Japanese, Dutch, Hungarian, and Danish. Although an essential parallel to the European avant-garde, Craig was often read as "exceptional" and highly innovative in his native Britain, thus, The Mask not only appears as Craig's main cosmopolitan project but also at times functions as a surrogate stage for his experiments in theater practice. The book has a comprehensive chronology, extensive notes and a bibliography making it an essential text for undergraduates, postgraduates, actors, theatre professionals, designers, directors, researchers and writers in the fields of theatre studies (especially theater set and lighting) and theater history."

"This book is a guide to introducing the craft of playwriting into the secondary English curriculum at key stage 3, using the TEEP (Teacher Effectiveness Enhancement Programme) framework. The authors also provide a particular focus on applying this versatile scheme of work to other areas of the curriculum, including Citizenship and PSHE.Playwriting Across the Curriculum also contains schemes of work for: pupils with special educational needs (SEN); pupils with English as an additional language (EAL); adaptation to Adult Literacy Core Curriculum."

Reading Shakespeare through Philosophy advocates that the beauty of Shakespearean drama is inseparable from its philosophical power. Shakespeare's plays make demands on us even beyond our linguistic attention and historical empathy: they require thinking, and the concepts of philosophy can provide us with tools to aid us in that thinking. This volume examines how philosophy can help us to re-imagine Shakespeare's treatment of individuality, character, and destiny, particularly at certain moments in a play when a character's relationship to space or time becomes an enigma to us. The author focuses on the dramatization of seemingly magical relationships between the individual and the cosmos, exploring and rethinking the meanings of 'individual', 'cosmos' and 'magic' through a conceptually acute reading of Shakespeare's plays. This book draws upon a variety of thinkers including Plato, Aristotle, Leibniz and Kant, in search of a revitalized philosophical criticism of Julius Caesar, Love's Labor's Lost, The Merchant of Venice, Timon of Athens, and Twelfth Night.

"This collection of interviews offers unprecedented insight into the plays and creative works of Suzan-Lori Parks, as well as being an important commentary on contemporary theater and playwriting, from jazz and opera to politics and cultural memory. " Suzan-Lori Parks in Person" contains 18 interviews, some previously untranscribed or specially undertaken for this book, plus commentaries on her work by major directors and critics, including Liz Diamond, Richard Foreman, Bonnie Metzgar and Beth Schachter. These contributions combine to honor the first African American woman to receive the Pulitzer Prize in drama, and explore her ideas about theater, history, race, and gender. "