Book Description

From adagio to voyage, over 800 steps, movements, poses and concepts are fully defined. A pronunciation guide, cross-references to alternate names for similar steps and positions that vary from the Russian to the French or Italian schools, are also invaluable aids.
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Reviews (12)

Excellent resource!
This book has served as an excellent resource for me in my ballet classes. I am a ballet teacher, even though it's not my strength. With this book, I was able to ensure I was instructing my girls accurately. This is a great dictionary of ballet terms. This a must-have to carry in your dance bag.

Another note, a number of my students frequently looked up terms in my book. Eventually, a few of them purchased it for their reference too. A good buy, in our opinions.

A great help for any dancer!
As a 13-year-old intermediate/advanced ballet dancer, I found this book very useful. I bought it at the first master class I ever went to about 5 years ago, because it was then I realized that there was more to ballet than just "tendu close degage plie". I wasn't familiar with some of the terms the teacher was using, and it helped immensely, especially with the body positions (croise, efface, etc) and pronounciation. Also, my dance teacher recommends this book to us constantly!

Pre Ballet to Advanced Classes
I work with the Center for Dance and Palmetto Dance Theatre. We refer to this book regularly. Oftentimes, we give our beginning students die cut figures with the French term on one side and the simple definition on the other side. We start with our Pre Ballet students and they quickly learn the terminolgy. It is an invaluable resource for teachers and students alike. All Ballet teachers could benefit from the use of this inexpensive but informative book.

Great resource
I used to have a copy of this when I was taking ballet classes as a teen and found it a great way to improve my technique when I wasn't in class. I refered to it frequently when I wondered if I was doing a step correctly or if I couldn't place a movement to a name. At the price, you really can't go wrong.

Wonderful Reference
This book is a wonderful source for the technical names of classical ballet steps. I have used it over and over for checking my spelling of movements for papers and for writing dance syllabus. It covers the variations of both steps and names for the French, Russian (Vaganova) and Ceccetti schools. A wonderful resource for teachers and students both. ... Read more

Book Description

Book Description

This market-leading text is continually praised by reviewers for its clear, practical, and successful method of training students to master the skills of human communication. This introductory human communication text covers interpersonal communication, small group communication, and public speaking. With a consistent model of theoretical explanation followed by numerous practical examples, activities, sample visual scenarios and speeches, self-assessment, and review, students cannot help but to become ethical, competent communicators in our mediated world. ... Read more

Reviews (2)

Dictating Sleep, Volumes and Volumes of It
Perhaps this book is considered, by some people, to be a college-level volume, but the simplification of the subject is of the most demeaning of sorts. It begins by teaching you the most basic of ideas, the communication process (entailing the meanings of words like context, participants, messages, channels, noise, feedback, and so on), drudges through some page-filler slush about why we should communicate, and finally, in chapter twelve, gets to a little something on public speaking - what I thought the book, considering its useage, was designed for.

To illustrate the simplicity of this book, the content (broke into four sections) is as follows:
(1) Foundations of Communication, the first 100 pages - including some topics like verbal and nonverbal communication, plus the perception of self and others.
(2) Interpersonal Communication, the next 110 pages - includes topics ranging from listening and job interviews to communicating in relationships.
(3) Group Communication, ranging at only 20 plus pages of content - tells you how to participate in groups and about leadership in groups.
(4) Public Speaking, the last 160 pages - finally touches on how to pick a topic, research it, adapting to an audience, and takes a lot of time differentiating between informative vs. persuasive speaking.

If you need something to teach you the ABC's of speech, perhaps you might want to look into this. Still, if you actually want to know something more than the most basic thoughts on this subject, I would advise skipping this altogether and thanking yourself for it later.

Communicate!
My review of this book is that it tries to teach you a bunch of things that are confusing and really un-meaningful when you stop to think about what they are trying to tell you. ... Read more

Book Description

MI>The Enjoyment of Theatre continues to bring students the expertise of a proven author team one whose strong academic credentials combine with a wealth of theatre experience to create a book that effectively conveys the importance and excitement of theatre.Both majors and non-majors will find reading this book as enjoyable as the theatre itself. Cameron and Gillespie make theatre come alive for all readers in a comprehensive and accessible way. The new edition of this highly successful, audience-oriented book builds on the strong foundation of previous editions. By recognizing both educational and cultural diversity in the 1990's, the authors use their vast knowledge and deep understanding of theatre to span its 2500 plus-year history and to show students how theatre is and will continue to be relevant to their everyday lives. For readers with an interest in the excitement and sophistication of the theatre. ... Read more

Reviews (3)

A Solid Introduction to Theatre
Let's face it. Most introductory textbooks are pretty much alike: a little history, a little theory, an overview of what theatre professionals do, etc. Cameron and Gillespie give the student a leg up by writing their chapters in a user-friendly format, with chapter objectives, bulleted (main) points, and key terms at the end of the chapter, as well as web sites for further information. They also provide headings and subheadings as chapters progress, helping us digest the material in conceptual chunks rather than one long narrative. As one reviewer pointed out, there are no cuts from plays inserted, but that gives the instructor the freedom to choose his/her own plays to examine in class. Overall, I think it's an excellent introductory text. I especially like the attention to script analysis using Aristotle's Poetics.

Caution: May cause severe eye-rolling and excessive boredom
This book is meant to be informative.It is.Unfortunately, only about 15% of the book contains useful information.It actually takes the time to explain what a standing ovation is: "To show exceptional approval, audiences may stand and applaud (give a standing ovation)."It goes on to explain that if an audience finds something funny they will laugh.Imagine that.

A Solid "Introduction to Theatre" text
The story of the textbook is to give students an appreciation of theatre, to delineate theatre from other Art forms such as sculpture, dance, and painting as well as film and sporting events.The text gives a concise and accurate, although thoroughly Western, overview of theatre history with brief emphasis on African and Asian theatre.One is taken Chapter by Chapter through a discovery process from the very broad appreciation of theatre as a performing art to the very specific nuances of various Asian performance techniques.Along the way there are three units broken up into various chapters.Unit one focuses on audience relationship to the stage, the social context of theatre, textual and visual analysis a.k.a audience appreciation.Unit Two analyzes the state of theatre today and occupations in theatre.Unit Three focuses entirely on theatre history with chapters on ancient theatre, the middle ages, neoclassicism, romanticism, avant garde, eclectic and current theatre, and concludes with world theatre (mainly African, Islamic, and Asian).The book's weaknesses are its decidedly Western and Caucasian focus, very little of the text is devoted to non-white theatre and (although much improved on other texts) there are very few multi-cultural photos and illustrations included.Also, there are no plays included in the text.It is difficult to encourage script analysis if no script is included, and one page of a script with blocking scribbled all over it does not suffice.There is not much focus on design besides explaining the role of designers in the theatrical process and showing different illustrations of various historical theatre buildings or areas.Lastly, not knowing how to eloquently state this, there is something disturbing about siphoning Chekhov, Ibsen, the Federal Theatre Project, Kathakali, avant garde, Ira Aldridge etc. to two paragraphs or less.By trying to include so many various historical topics in one relatively small text, the authors have sold many of them short. Overall, If used in combination with lectures or texts on design, live performance, and a collection of world drama or scripts this is a solid and very useful text. ... Read more

Reviews (7)

Great Book!!!
My book is all dirty, and worn since its always around im my studio as I go about doing my molds and casts.
I used it all the time. Now not so much since I have memorized almost everything.
A must for anyone that want a book that is really practical with accurate information.

Have a look
This book was an interesting read. They do show a wide variety of techniques that are used for the stage...but they only give you a small taste of the process...The vacuum forming section is good. Read this book to get an overview of some ideas... but know that most of the technology shown is past its prime. I know stagework is seen at a distance... but you will not be impressed with the craftsmanship of the projects. Heads up on some safety issues...they skip right over that. Oh my.

good resource
I purchased this book as a sculptor....and thought it might be too focused on theatrical uses. I was pleasantly surprised to find that not only did it apply to the art sculptor but that it was more descriptive than any sculpture books on the same processes. The photos and directions are very clear and informative. The author gives a list of sources for ordering materials and supplies( though there are now many more sources available since this was published).

The beginner's book of molding and casting
What do you want to know about molding and casting? It is probably in this book. How to work with Plaster, how to work with urethanes and resins. All about mold making, all about casting materials. From the simplest to the most complex. The book even explains how to do vacuum molding. I've just begun to do molding and casting and so far everything I've needed to know came right out of this book. And it is a lot of fun, too.

An outstanding book on the subject.
Covers many different types of molding/casting materials and release agents depending on the job at hand. Good photographs that illustrate the step-by-step process. Has important detailed sections on safety and how to handle various chemicals. The author also includes a section on how to build a vacuum-form machine and a selection of vendors to contact to order materials discussed in the book. ... Read more

Amazon.com

The Stagecraft Handbook strives to be lightweight, compact, and economical. Daniel Ionazzi leaves the specifics to the designers, but provides practical, reliable advice for those involved in setting the stage. With chapters on tools, scale drawings, scenic materials, joinery, flats, and rigging to fly, Ionazzi provides valuable know-how to help novice and experienced stagecrafters create their dream sets within practical boundaries of time and money. ... Read more

Reviews (3)

Perfect Tool
This is a wonderful book, perfect for the beginner and intermediate. Clear and very helpful. Highly recommended.

A Great Sourse for Carpentry and Scene Design
I have worked in the theatre for a number of years in every capacity. As a scene designer and carpenter, I have found Ionazzi's Handbook to be a valued tool. I use it everytime I design, it can be found right along side my drafting tools. It's one of the best soures on this suject out there! I highly recommend it to the novice and seasoned designer and carpenter!

A very good book for the beginner or seasoned set builder
From the beginning, this book takes you step by step into set and scene building. It starts with the basic inventory of tools and space needed, to recommended shop lay out and flow of construction. Included from the start, are safety practices that are recommended to keep you and your helpers leaving each day with all fingers, eyes and etc. in-tact. Each chaptor that follows takes very logical and precise steps to show basic set building. This goes on to more complex (but very useable) technigues and then puts them together. Also included are variety of stage props that can be made. I have been a stage manager and set construction designer and builder for a childrens theatre group for a number of years, and I use this manuel as my main source and refer to it over and over. As part of the production with the children , it is a requirement for parent involvement which includes help with set construction- this book has proven to be of tremendous help for the parent helpers to use as resourse also. I highly recommed this book as a reference book for any scene shop. ... Read more

Book Description

This text presents drawing instruction with detailed break downs of various types of characters. Maternal? Elderly? Sassy? Sexy? It all starts with body proportion, bone structure, body masses, the facial expressions, the hands, and the feet. Hats, props, fabrics, and choice of medium are all thoroughly covered to ensure your ability to develop convincing life-like characters.

* Includes unique three-step drawing guides that develop the sketch from stick figure to full-blown character
* Detailed examples of how to draw faces, hands, and feet
* Learn to draw realistic fabrics in a multitude of colors and textures ... Read more

Book Description

Cirque du Soleil has become an international theatrical sensation, having thrilled the imaginations of more than 40 million people with its innovative circus experience. In 20 years, Cirque du Soleil skyrocketed from a troupe on the streets of Montreal known as "The High Heels Club" to a circus extravaganza involving 2,400 employees worldwide and some 500 artists performing in more than 130 cities around the globe in active productions that are both on tour and permanently on view in Las Vegas and Orlando.

With unprecedented access to Cirque du Soleil members in the telling of their story-including its founder, Guy Laliberté-Cirque du Soleil: 20 Years Under the Sun is the first retrospective to chart the history of this extraordinary cultural phenomenon from its humble origins to its remarkable international success. With 300-plus full-color illustrations that feature all of the company's dazzling productions-among them Saltimbanco, Mystère, Varekai, and "O"-this exceptional volume captures Cirque's magic on the printed page with the visual brio for which the company is widely renowned. The release of this book is set to coincide with Cirque du Soleil's 20th anniversary. AUTHOR BIO: Tony Babinski is a writer, filmmaker, and musician based in Montreal. From 1994 to 2000 he coproduced, cowrote, and scored a series of award-winning experimental films. Kristian Manchester, also based in Montreal, is an art director with the Diesel design firm. ... Read more

Product Description

Nominated for a whopping 10 Tony Awards and grossing more than $1 million each week, Wicked is this year's Broadway smash! A prequel to the all-American classic The Wizard of Oz, this new musical is a character study of Elphaba and Glinda, school roommates who grow up to become the Wicked Witch and the Good Witch, respectively. Feature a special section of color photos from the production, a note from composer/lyricist Stephen Schwartz, and these fantastic tunes: As Long as You're Mine ? Dancing Through Life ? Defying Gravity ? For Good ? I Couldn't Be Happier ? I'm Not That Girl ? No Good Deed ? No One Mourns the Wicked ? One Short Day ? Popular ? What Is This Feeling? ? The Wizard and I ? Wonderful. ... Read more

Reviews (1)

Great score, arrangements! (melody in the piano part)
After waiting for so long to finally get this book, I've discovered it to be well worth the wait.

Stephen Schwartz is releasing two versions of vocal selections for wicked, this version containing the melody interpolated into the piano part, and another book that is billed as a professional acompaniment without the melody necessarily built into the piano arrangement. This led many to speculate that the "with melody" version would therefore be much easier and less true to the music. Although I haven't seen the other book yet as it has yet to be released as I write this, you should definitely know that this book has not one "easy" arrangement. The arrangers have done a really excellent job of keeping the parts interesting while building in the melody. For instance, "Defying Gravity," the amazing Act-One closing number, is particularly well done, and if you can work through the key-- (it remains, as in the show, in Db) you will be VERY satisfied with the richness and fullness of the sound.

Schwartz has adapted the songs for use as solos or (where applicable) duets, removing longer instrumental breaks, trimming ensemble sections, and providing some new lyrics and endings to make the songs work really well for this new format. This in my opinion is yet another reason to purchase the book, as it gives fans of the show a way to interpret small sections of some of the songs differently.

Sometimes I do wish some cuts could have been avoided (notably I miss the wonderful "We deserve each other" theme that appears on the cast album intersecting "Dancing through Life" and the counterpoint melody "Who's that mage..." in "One Short Day"), but Schwartz is right, it would have impeded the creation of solo pieces to put those in.

The score for Wicked is definitely not to be missed, it really is a must have-- (especially while I wait patiently for the imminent release of the other version of the score!)

Overall, the music is wonderful, the arrangements remain challenging, but are extremely well edited and contain chord diagrams to help you along as well. Well done. ... Read more

Book Description

This best-selling text by a leading voice in the field offers a distinct alternative to existing textbooks for the introductory course in interpersonal communication. This theoretically unified but pragmatic introduction to the concepts, principles, and skills of interpersonal communication in a multicultural society. This text consistently integrates ethics and issues of social diversity into coverage of both discussions and mastery of skills, and it shows how interpersonal communication theory and skills pertain to students' daily encounters with others. With unparalleled attention to social diversity and an emphasis on theories, research, and skills that are anchored in the field of communication, the new edition integrates Web and CD-ROM technology to provide interactive learning experiences for today's digital classroom. ... Read more

Reviews (3)

Great intro text
This book is wonderfully accessible and serves as a great introduction to interpersonal communication and preparation for upper-level coursework on relational communication. I have used this textbook for 4 years at a community college and 2 years at a state university and the students have always rated this textbook very highly. Although they do state that the chapters are a bit long, they feel it is very accessbile and easy to understand. The students also report that they like the examples/blurbs from other students that pepper the chapters, and many of them bring up those examples or Wood's personal examples in relation to their own lived experiences during class discussion.

Thanks to the students' positive responses to the text, I have been able to explore more options in teaching besides reiterating the text in lecture format and have developed quite an array of exercises and projects that push my students to understand some difficult concepts better, to learn more sophisticated materials, and to improve their interpersonal communication skills through practice.

I praise Julia Wood for creating a textbook that allows students to be in charge of their own learning and teachers to go outside the expected routine.

Valuable, but tedious
This text was required reading for an interpersonal communications course I took. It provided a ton of valuable information, very helpful insight, sample conversations, and examples which helped me to acctually apply what was learned. However, the writing style was highly repetitive, and each new section repeated earlier ones then built on them instead of starting with completely new information. While this did help me learn better, it was also somewhat boring. I would still recommend this book for it's ability to make abstract terms much more tangible. Hope this helps!

Not a reader friendly book.
Ms. Wood is intelligent and provides a lot of good information in this textbook. This was chosen for the course I teach before I took the position and if I had my way, we would have found a different book. It is not that the information is bad, it is just that Ms. Wood becomes very repetitive. About half of the first six chapters seem to drag on and most of the time restates the same thing from an earlier chapter or from the same chapter. I like what she has done with discussing multicultural issues, but some of it seems to be patronizing to the reader. I think another edition should be done and making the chapters shorter and more readable (Chapter 1 goes on for 78 pages -- which lost my attention, so I know my students had the same problem.) In the course review, the textbook generally gets a poor or below average rating. I can not give you a recommendation, as I am in the middle of searching for a better option. ... Read more

Book Description

The "bible" in the field of stage management, this book is a practical examination of the role of the stage manager in overall theater production. Full of practical aids such as websites and email addresses in every chapter, checklists, diagrams, glossaries, and step-by-step directions, this volume has been used and admired by students and theater professionals alike. It eschews excessive discussion about method or philosophy and, instead, gets right to the essential materials and processes of putting on a production. Perhaps most importantly, Stern has continued to keep pace with the technological and professional developments affecting the stage. For theatre professionals, or anyone with an interest instage management/ theatre management. ... Read more

Reviews (6)

Good Book BUT . . .
Indeed the Lawrence Stern Book is one of many excellent books on the topic of Stage Management. Perhaps the now plethora of excellent texts comes from the intrinsic organizational skills required in the industry. At one time the LS text was the only modern text on the topic, but since there are now a number of great books, some even better, I'd urge folks to consider them. The Thomas Kelly book, for instance has a very similar organization, and seems to be somewhat more current. To me the Kelly book is a much better value.

Great Reference Material
I used this book for my stage management class. It is an excellent starter book for any stage managers library. Pick this one up.

The most easily-read and helpful text I have ever read.
Stern writes as if he were sitting around talking. The book is extremely easy to read. And the subject of stage management is so thouroughly covered that I feel confident to approach any task a director would lay before me. Appropriately nicknamed, this is the "Bible of Stage Management"!

Fabulous!
This book is completely indispensible. It helped me very much, and I recommend it to anyone involved in theatre - either onstage or backstage.

Excellent resource for anyone interested in Stage Managing
This book is the penultimate guide for stage managers. From what every stage manager should have in their box to pre-show tech checks to the obvious and sometimes not so obvious responsibilities of the stage manager, Mr Stern covers them all, and much, much more. If you're just starting out, or even if you've stage managed before - Buy this book. You won't regret it! ... Read more

Amazon.com

Most people know the work of theater director Julie Taymor, if they know it at all, from her hit adaptation of Walt Disney's The Lion King for the Broadway stage. But this gorgeous book, a pictorial history of the artist's career, demonstrates that for the past 25 years Taymor has been creating original works of theater that combine a stunning visual sense with an extensive knowledge of the performance styles of many countries outside the West. Theater critic and scholar Eileen Blumenthal has followed the work of Taymor almost since its very beginnings, and her lengthy critical assessment of this inspired artist's work combines interviews with the director with a cogent analysis of her intellectual development and cultural sources.

From her days as a teenager studying the people and theater of Bali to her travels in Japan, Europe, and then back to New York, Taymor has reveled in the cross-fertilization of different images and ideas from a wide variety of countries. Her critically lauded piece The Transposed Heads, for example, was adapted from a Thomas Mann novella that was itself based on an ancient Indian folktale. Unlike most directors, Taymor came from the world of the designer, and it was her exquisite work creating costumes, masks, and puppets that first launched her into work in the theater. But gradually she gained the respect of actors as well, and now is regarded as a director of uncommon sensitivity, who can pull performances from a cast that match in intensity her phenomenal visual eye.

Lavishly illustrated with color and black and white photographs, this is a fitting tribute to a woman who, still in her 40s, is nothing short of a theatrical prodigy. As Taymor moves further into the world of commercial theater and film (her upcoming cinematic production of Titus, starring Anthony Hopkins and Jessica Lange and adapted from her own stage production of Titus Andronicus, opens soon), more audiences than ever will be treated to her extraordinary work. --John Longenbaugh ... Read more

Reviews (3)

A Rare Book for a Rare Artist
I bought this book after looking at a friend's copy, and I can say that this was one of the finest investments in my Theatre Arts library that I have ever made. This book is filled with brilliant pictures and vivid writing that will keep many in awe and almost child-like wonder at the genious of Ms. Taymore. This isn't just a book for those that appreciate theatre - I suggest it for anyone who is interested in puppetry or film, not to mention anyone who can appreciate art in general.

Playing With Fire proves Julie Taymor's extreme brilliance!
I have been in love with theatre for a long time. Many musicals I see and enjoy, buy the CD and just listen to that. Others blow me away. Those that have that capacity I tend to investigate and become obsessed with. The Lion King was one of them. I soon became fascinated and extremely appreciative of Julie Taymor's work and pure brilliance in musical theatre, opera, and film. This book highlights every show that Julie has been involved with for her 20 years in the performing arts business. This wonderful book illustrates what true theatre is! Julie is too amazing for any human language too describe; even emotion can't portray my love and idolism for this excruciatingly wonderful woman! Anybody who loves theatre, whether it is film, opera, musical or non-musical, you will be able to love and appreciate this book for all eternity.

I love this book so much that I would dare to give it infinite stars. Now imagine this, if there were such a number, I'd give the music from these shows infinitely infinite stars!

Now, more to the book. It starts out with a quick overview of her work. Then we get into the real meat. There are pictures (both of the show and backstage!) from each and every single of her shows. Included are some original sketches of costumes, masks, and puppets. Along with the pictures are writings by both Julie Taymor and Eileen Blumenthal. This is an extravagant work of art in itself that all should have their eyes glued onto...buy it now! Also buy everything you can find that relates to Ms. Taymor. You will be fascinated! The only regret I now have is that I didn't live in Europe and Asia to see her other fascinating shows...

Hail Taymor! I will look forward to all of your work in the future!

Lastly, if anyone finds the film Fool's Fire (by Taymor), PLEASE! E-mail me at Cepheus9@aol.com...I want to buy it SO badly!

Playing with fire -- Playing with imagination
A facinating insight into the mind of one of the great contempary designers. A must have for all theatrically minded people. The book takes you through the creative process to achieving such powerful and passionfilled productions such as The Lion King. Disney would have flopped without Julie Taymor. ... Read more

Amazon.com

In her introduction to Respect for Acting, actress and teacher Uta Hagen talks about a time when she herself had no respect for the art of acting. "I used to accept opinions such as: 'You're just born to be an actor'; 'Actors don't really know what they're doing on stage'; 'Acting is just instinct--it can't be taught.'" But this attitude of "you got it or you don't" is fundamentally one that denigrates the craft, as she points out. Great actors do not perform effortlessly, or merely through learning the appropriate tricks and cheats to manipulate an audience. Great acting is about the difficult fusion of intellect and action--about sincerely and truthfully connecting to the moment, your fellow actors, and the audience--and Hagen's thoughtful and profound book contains a series of observations and exercises to help an actor do just that. Her prose style is admirably clear and filled with examples from her own lengthy career both as a performer and in the classroom. While her exercises in sense memory and basic objects skirt close to the sort of self-absorption that followers of "the Method" are routinely accused of, they are presented clearly and with a focus on practical results. And in such places as her chapter "Practical Problems," which includes discussions of stage nerves and how to stay fresh in a long run, her straightforward advice is invaluable. --John Longenbaugh ... Read more

Reviews (16)

A BLUEPRINT FOR ACTORS
I have had the great pleasure and privilege of seeing Uta Hagen perform in plays by Edward Albee, Donald Margulies and George Bernard Shaw. She is surely one of the finest actors of our time. I have also had the great pleasure and privilege of studying for four years with Uta in the school she helped create with her late husband, Herbert Berghof (the famous HB Studio in New York City). I can assure you that she is one of the finest teachers of our time. It is a very rare actor who can actually communicate as a fine teacher. Uta is one of those very few who do just that.

In this, her first book, she lays out a "blueprint" for actors which, as surely as a blueprint by an architect, can be followed by those actors who are novices or those who have great experience. No, she cannot give you talent, but she can (and does) show you the how and why to use your talent to serve the playwright.

She believes in acting as an Art and this "how-to book" is invested with the love and respect of its title. It can be read and enjoyed and actually used by actors. It can also be read and enjoyed and relished by lovers of fine theatre who do not happen to be actors. It would make a terrific gift for any young actor along with the only books I would rate as its equal: Constantin Stanislavski's "An Actor Prepares" and his "Building A Character." It is HIGHLY RECOMMENDED.

Excellent! Better than "An Actor Prepares"
I found that Uta Hagen's personal experiences from the time she began in her profession to where she is at when writing the book were some of the most helpful parts of this book. Also, the bit on Scoring the Role has helped me with many plays and characters that I have done up to this point. An absolute must for any person serious about Acting!

Not For Those Just Browsing
This is a deep, detailed work about the craft of acting. It is definately not for those just dabbling, as it will seem boring at best. But for those truly devoted to learning the craft, this is indespensible.

Excellent
First of all, I would like to let you know in advance that I'm not really a book person. I'll clarify and respond the best of my abilities. When I first read Respect for Acting, I was amazed at the authority with which Ms. Hagen wrote her book. The more I read, though, the more I began to understand this authority. Incorporating basic acting concepts, individual "object exercises," and methods for working on a character in a play. I particularly enjoyed the specificity of the writing, and the means by which Ms. Hagen explained every statement she made. I think this novel is a brilliant piece of work.

Uta Hagen has an excellent writing method, and "Respect for Acting" is understandable and effortless to read. She has many amazing ideas. In her introduction to "Respect for Acting", actress and teacher Uta Hagen talks about a time when she herself had no respect for the art of acting. I learned that great actors do not perform naturally, or merely through learning the appropriate tricks and cheats to influence an audience. Great acting is about the difficult mixture of intellect and action about sincerely and truthfully connecting to the moment, you're fellow actors, and the audience and Hagen's thoughtful and reflective book contains a sequence of observations and exercises to help an actor do just that.

Her writing style is very clear and filled with examples from her own lengthy profession both as a performer and in the classroom. While her exercises in sense memory and basic objects skirt close to the sort of self-absorption that followers of "the Method" are routinely accused of, they are presented clearly and with a focus on practical results. And in such places as her chapter "Practical Problems," which includes deliberations of stage nervous tension and how to stay fresh in a long run, her straightforward advice is invaluable.

Boring, but necessary.
I found this book next to impossible to get through when I had to read it for my theatre class. Unless you're good at holding one idea while reading another (because you have to remember what maxim applies to what situation as you read), the sage advice of Uta is almost unbearable to wade through. Almost my entire class agreed that she talked about herself for an inordinate amount of this piece. However, her advice is very wise, and if you can manage to figure it out and ignore the stuff that you might not need to know- such as experiences with two different ladies and their ways of handling some role- you will find yourself a better actor for the trouble. ... Read more

Book Description

Enthusiastically anticipated as the latest Disney stage production, following the astounding success of Julie Taymor's breakthrough production of The Lion King, Aida is certain to be a hit. Celebrated songwriter Elton John and lyricist Tim Rice present their version of the classic tale of Aida - the story of a love triangle in which the three main characters - Radames, Aida, and Amneris - are torn between love for each other and greater duties.

This colorful book contains all the excitement of the lavish production, detailing all the action on the stage and behind the curtain. You'll find spectacular costume sketches, fabric samples, and set designs, as well as interviews with the actors, directors, producers, and composers. Best of all are brilliantly photographed scenes that convey the full breadth of the show's beauty and drama and offer readers the next-best thing to a front-row seat. ... Read more

Reviews (3)

Overall a fine book but lacking at times
You'll find this oversized book ripe with details, from conception to Broadway debut, and filled with pages of colorful photos that illuminate the production. Journalist and author Michael Lassell traces the show's history with interviews from those intimately involved, from writer and composer Elton John and Tim Rice to stars Adam Pascal and Heather Headley to costume designers and choreographers. His unrivaled access allows us to visit every aspect of the production.

The book is divided into four chapters: story, composition, production, and performance. The first section describes the timeless tragedy and romance of Aida and of its rebirth from acclaimed opera to modern day rock musical. John and Rice's hammering out the numbers is described in the second part, and we begin to see the show's evolution from its originally titled "Elaborate Lives" Atlanta production. Set design, art direction, scenery, and costuming are detailed in the third chapter, and the last focuses on performance details.

The most ardent fan will always find such books lacking, but in fairness it gives the common theatre-goer a good sense of the energy required to stage a Broadway production. One of the best features is the photos, both plentiful and saturated with color. I especially liked the visual contrasts between various stages of the show, such as early costume sketches compared with the final outfits. The breadth of interviews also conveys the passion of an extraordinary "Aida" team.

A couple of things could have been improved upon. While I enjoyed the pictures, there was a redundancy to some. Two full page spreads of "Dance of the Robe," for example, one to illustrate the lighting and a second to show the choreography, proved unnecessary. Space dedicated to "sequence shots," a cluster of essentially the same candid photo, could also have been better utilized with more production stills or, better yet, meatier text. At the core of the show is the story, its historical and contemporary implications, and this book doesn't drive into the heart of the characters quite forcefully enough. Lassell only dedicates several pages at the end to the actors' interpretations of their characters.

This is a heckuva book!
This is an excellent book and very informative. It tells you about all of the changes that the show went through. It has wonderful pictures. They're all in color and they bring back memories of the show. I had had the good fortune of seeing the show with the entire original cast still intact. There were no understudies that day and I was so happy. I'm still trying to remember where that scrim in Fortune Favors the Brave came from. My only complaint is that they didn't tell the name of the man who played Radames before Adam Pascal took over in Chicago. Buy this book. You will thank me.

A wonderful way to capture AIDA
I saw Aida on Broadway and was impressed by the music, the acting, the scenery, and the dancing. When I discovered this book, I found a way to relive the moment. I enjoyed looking through the photos of this book and showing them to people who have not yet seen the play on Broadway. I also enjoyed reading all the behind the scenes comments by the actors and actresses. All in all, I have found this book a great way to cherish one of the greatest musicals on Broadway. ... Read more

Book Description

Folger Shakespeare Library

The world's leading center for Shakespeare studies

Each edition includes:

• Freshly edited text based on the best early printed version of the play

• Full explanatory notes conveniently placed on pages facing the text of the play

• Scene-by-scene plot summaries

• A key to famous lines and phrases

• An introduction to reading Shakespeare's language

• An essay by an outstanding scholar providing a modern perspective on the play

• Illustrations from the Folger Shakespeare Library's vast holdings of rare books

Essay by Susan Snyder

The Folger Shakespeare Library in Washington, D.C., is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. ... Read more

Reviews (1)

Review of William Shakespeare's "Othello" by Terry Hoge
What is more inticing than a story involving war-like patrons and scandal? This book has been absolutely entertaining and suspensful to read. It was stunning how many false stories, insinuations, and accussations the character "Iago" had set up from the beginning to the end. There were also so many other character types such as the pawn-like Roderigo, the seemingly calm yet furiously jealous Othello, the bleeding-heart of Desdemona, the honorable Cassio, and more! It was amazing how Iago had actually set up his false stories from the very beginning of the novel where he first employes Roderigo as his foolish pawn. The only factor of this book that was somewhat unsettling was how easily swayed Othello had gotten from Iago's insinuations. To a certain point, it almost seemed unrealistic. For example, towards the end of the play, when Iago retrieves the seemingly precious and invaluable handkercheif and uses it to make it seem that Cassio had recently been with Desdemona, that seems to be a little bit illogical. Just because Othello finds that Cassion has been holding the precious handkercheif doesn't abosuletly mean the Desdemona has been unfaithful. However, some could argue that the heavy pile of insinuations and false stories/accusations that Iago has placed on Othello could be seen as reason enough for Othello's furious rage and jealous behavior. All in all, though, this book has been quite pleasing. The amount of scandal (scandal as in the falsness of Iago) has been enough to please anyone looking for a suspensful tragedy to read. ... Read more

Reviews (8)

Sound Advice.... Really!!
I bought this book wondering what I would find. Too many of the reviews here would like to make this book out to be a guide to starving oneself thin. The book is very complex, offering the physiology of how food breaks down in the body, how starvation and very low calorie consumption adversely effects the body, and how to calculate proper caloric intake based on weight and activity level. The recommened diet is the Exchange Program, that would be the American Diabetic Assoc. diet. The very same one physicians instruct persons with type 2 diabetes to use. This diet ensures that you eat a variety of foods (starches, meat, veggies, fruits, milk/dairy, and fat) and do not have to directly count calories. This is not a quick weight-loss plan, in fact the book testifies to the fact that this is a slow proccess. I couldn't find anything in this book that recommended unhealthy practices to lose weight.
Bottom Line:This diet WILL work and is not encouraging dangerous behavior in dancers or everyday folks!

i'm in love
Finally a book for dancers. all ballerinas KNOW we have a different set of standards to adhere to, and FINALLY, theres a book that pops up and helps us instead of attacking. I think the skinnyhaters need to calm down and understand dancers live on a whoole different PLANET. To Chmelar and Fitt - i adore you, thank you, thank you, thank you.

Chmelar is Stellar!
I found it shocking and irresponsible that in his review of Chmelar and Fitt's Diet for Dancers, Matthew McCarthy chose to take a few phrases out of context to paint a completely inaccurate portrait of what is the best book I've read on diet and nutrition for dancers.

Chmelar and Fitt are not telling dancers they have to be thin; rather they are reporting the realities that face most dancers who pursue careers in theatrical performing dance and encourage dancers who do not fit the body composition standards for being a professional ballet dancer to seek a style of dance that suits their bodies. Chmelar and Fitt are the only authors I know of who have assembled actual research on the body compositions of15 female professional and university, ballet and modern dancers and compared them to those of five kinds of female athletes. These results show that such dancers need to fit into a pretty narrow range of percent body fat and weight relative to height. For example, university female ballet dancers have a percent body fat range of 9.6% to 20.5% , an average weight of 117.7 +/- 10.4 pounds, and an average height of 65.3 +/-2.0 inches. Similar values are given for female university modern dancers as well as professional ballet and modern dancers. These values are substantially below what is considered an average healthy weight for nondance women. Yet the values for these same categories of male dancers are very similar to those of healthy nondance men. So it is the research that shows that female dancers have to maintain a lower than healthy average body weight; Chmelar and Fitt are simply reporting the facts. Mr. McCarthy seems to be shooting the messenger.

Yet C&F do more than simply report the facts; they also give their opinions on how to promote healthy weight expectations for female dancers. In the section "Professional Realities and Ethical Considerations" p43 C&F write, "In no way can this or any other book dictate what a school or company's weight standards should be...We can offer guidelines based on our current knowledge, but any dancer who reaches professional status is bound to be met by strict standards.... Directors, faculty, and students in university programs should ask themselves a number of questions (some of which mighght also be considered by professional companies) such as: Should we have weight standards? If so, how strict should they be for performing-emphasis students? Should we have weight standards for students going into nonperformance dance fields? What kind of policy should we have for students who don't meet weight standards? Are we familiar with appropriate referral sources for students with eating disorders? How do we strike a health balance between ensuring our dancers are healthy yet meet the aesthetic standards of dance? And what are those aesthetic standards?
There are obviously a variety of answers to these questions; however, the important thing is that they be discussed openly among faculty and student representatives." To me this shows an exceedingly responsible attitude on the part of the authors for both recognizing the pressures of the real world in certain areas of dance and in encouraging dancers, instructors, and directors to recognize their responsiblities in shaping healthy aesthetic expectations for body weight among dancers.

Also, in the section "Genetic Influences on Body Composition" C&F advise dancers who don't fit the ballerina mold. On p44 they write: "Research conducted by former New York City Ballet dancer Linda Hamilton....underscores the pivotal role genetics plays in determining a person's body composition. For those dancers seeking a career with a professional ballet company, this issue should be carefully considered. Dancers who do not naturally tend towards such thinness can certainly use appropriate diet and exercise measures to help get them to their desired body weight; however, sooner or later they may have to choose between battling their inherited body traits and modifying their dance goals. For those dancers not born with sylph-producing DNA, energy can be refocused toward dance careers that do not require an ultra-thin body, and also toward maintaining a healthy, fit body composition rather than trying to force an unhealthy skinny one. [Emphasis added.]."
This is as far from "shocking and irresponsible" as I can imagine. It's easy to make a book seem like something it's not by taking a few phrases out of context. Mr. McCarthy's review makes me wonder if he read the same book I did.

Mr. McCarthy recommends that dancers "buy a book about healthy nutrition instead." I know no other book that explains the way diet and exercise interacts as it applies to dancers, lists the functions of all vitamins and minerals, and notes those nutrients in which research has shown dancers to be deficient. If dancers want a book that is both about healthy nutrition and also applies to their specific dietary needs, this is it. I'm only sorry that the dancers at the London Contemporary School of Dance will not have access to this book in their school library.

shocking and irresponsible!
I am outraged that this book exists - how dangerous are sentences like "to be thin and healthy is a necessity for dancers", "How to attain the ideal slender body", "to maintain below normal weight"???

Does that not wave a big warning sign? Encouraging "BELOW NORMAL" weight!

Language like this is very very dangerous considering the huge problem that eating disorders cause in the dance world as well as generally.

Buy a book about healthy nutrition instead. There is no way I would buy and stock a book like this in my library, in an important dance institution.

Matthew McCarthy, Librarian, London Contemporary Dance School

A Wonderful Tool
Chmelar & Fitt have created a wonderful tool for the professional and amateur dancer, and for those who dance just for fun, who want to learn how to maintain good eating habits for a lifetime and be happy with their individual body shapes. Whether you would like to lose a little or gain a little or simply maintain your body shape, this book teaches you how to see for yourself the eating habits that need to be learned and unlearned in order to reach your ultimate goal! The difference here is with Chmelar's and Fitt's positive writing style, which makes the reader feel as if anything is possible! Great Stuff! ... Read more

Book Description

Relating common theoretical models to true-to-life examples from law, ethics, education, and business, Inch and Warnick stress the importance of argumentation in everyday life. This book encourages readers to develop skills in both constructing and refuting arguments. Through exercises and examples, readers learn how to create individual arguments, extend argument cases, and understand how arguments are designed and how to interpret them. The book allows readers to conceptualize argumentation in the larger framework of verbal and written interaction, from public speaking and debating to interpersonal, intercultural, and small group communication. For public speakers, or anyone interested in the art of debate. ... Read more

Reviews (1)

A good step-by-step guide to argument and debate
I have used this text to teach my argumentation course for the past three years. It has proven very effective in teaching students step-by-step how to recognize claims, evidence and reasoning. Each chapter contains very practical exercises for students to complete proving they grasp the concepts of the chapter. Very clear examples are provided of arguments and the impact of culture on argument (in one chapter). The only weakness is on the focus on debate solely. This is not a weakness for some, but is for me who is striving to introduce students to both dialogue and debate. ... Read more

Book Description

Popular cult author and show business insider James Parish exposes the scandals that rocked Tinseltown

Nothing intrigues the public more than a good, juicy scandal. Add a famous Hollywood star or two to the mix and the nation is hooked. The Hollywood Book of Scandals provides the full account of 32 big, provocative scandals—complete with all the sexy, scintillating, and often shocking details. Written by veteran show business chronicler James Robert Parish, this book dishes the full dirt on:

• Bob Crane’s mysterious death
• Elizabeth Taylor’s seduction of Eddie Fisher
• Robert Mitchum’s arrest for drug possession
• Judy Garland’s public meltdown
• Errol Flynn’s trial for statutory rape
• Winona Ryder’s shoplifting trial

More than 100 black-and-white celebrity photos offer readers a close-up look at the leading players in these sordid dramas.

Reviews (17)

A Good Time Had By All?
James Robert Parish, Hollywood historian extraordinaire, smartly tackles the biggest and best Hollywood scandals of the last century. From the sexual ignominies of Valentino and Fatty Arbuckle to the outrageous O.J. and Robert Blake murder cases, Parish shines an accurate journalistic light on the follies and foibles of those we call Stars. If you want the real lowdown on Liz and Dick, the SNL cast, Woody Allen, Marilyn, Natalie Wood, Winona Ryder, Heidi Fleiss and many many more, throw away the tabloids and pick up this book - it's the most fun Hollywood read this year!

Sensational stories -- without sensationalism
James Robert Parish comes up with another tome about Hollywood. Once again, Parish offers dishy stories within a framework of intelligent prose, careful historical analysis, and a keen eye for human behavior. There's something for everyone in "The Hollywood Book of Scandals." The book covers dozens of cases, from the more obscure (comedienne Thelma Todd's mysterious death in the early 1930s) to the fresh-from-the-presses tales involving Robert Blake and Winona Ryder. Among the other stars found in Parish's latest are Errol Flynn, Ingrid Bergman, Liberace, and Woody Allen. "The Hollywood Book of Scandals" is a must for film lovers. Gossipy? Sure. Informative and engrossing? Definitely. And as plus, there's always Parish's straightforward and insightful style.

Movie Lore Scandals
James Robert Parish has written a concise, thorough and well
researched volume on over 100 scandals which have plagued
Hollywood from its infancy to the present. Included are such
personalities as William Desmond Taylor (whose murder is still
unsolved), Wallace Reid, Jean Harlow and Paul Bern, Elizabeth
Taylor, Judy Garland, Errol Flynn and O.J. Simpson. The nice
thing about this well illustrated book is that the author presents the facts and then leaves it up to the reader to decide

innocence or guilt. Very readable and highly recommnended for
for lovers of scandal and movie lore.

Parish Does It Again
Jim Parish is one of the most prolific writers about Hollywood on the scene. There's a reason for that: he has a wealth of information. He leaves no stone unturned in his search to bring his readers absolutely the most honest version of Hollywood's most infamous events...events which shaped our culture. In this book, Parish has done it again, bringing new information where you would have thought the well was dry years ago. The guy is incredible.

A Real Page-Turner
This well-researched book of Hollywood scandals is a real page-turner. Entertaining, wittily-written, and informative, it provides all of the juicy details of scandals covering the whole history of Hollywood, from the silent days to the present. Touches on many well-known scandals, but the reader will also be surprised by some previously unknown (at least to me) stories of Hollywood misbehavior. The book deals not just with scandal, but also with numerous tragedies (Judy Garland, for example). Some of the stories are funny, others sad -- and I found myself at the end of the book wishing for more. This is a terrific Hollywood book! ... Read more

Book Description

This is the second volume of Stanislaviski's enduring trilogy on the art of acting. The "System" which he describes is a means both of mastering the craft of acting and of stimulating the actor's individual creativeness and imagination. It has become the central force determining almost every performance we see on stage or screen, and still remains today the only comprehensive theory of acting we possess.

In Building a Character Stanislavski discusses with mastery and insight the actor's physical means of expression for realizing character on stage, such as the use of body, movement, voice, tempo, expression, make-up and costume. ... Read more

Reviews (4)

Great Info
Wordy with almost painful detail. But a true must-have for those aspiring to acting.

This is the Actor's Bible
This book is acting in biblical proportions and is a must for all serious actors!

twisted
through reading the work of a artist such as stan i have been able to improve my acting career to such an extent

A Foundation of knowledge for the actor
Stanislavki is considered a master of theatre and often called the "father of the method." In this, the second installment of his acting technique books(very wittingly alphabetically titled An actor prepares, Building a Character, Creating a role) he goes into the external technique an actor must use to become a character.

Like an Actor Prepares, he uses fictional characters obviously based on the actors from the Moscow Art Theatre, with the director, Tortsov (think Stanislavski) being the one with all the knowledge. While a lot is to be learned from the book, one can't help but notice how egotistically the book is written. While there is no denoting how wonderfully he lays out the principles taken in building a character, I wonder how much easier of a read it would be if he just came out and said, these are our principles. Instead he cloaks himself behind a character and we lose a lot trying to muddle through a student's undying love (Kostya, who's "journals" make up the text) for his teacher. If you can get past the text, you'll learn a lot. ... Read more