Amazon.com

Is the fundamental relationship between an actor and an audience an equal and active one, or is it a situation that encourages passivity and division? This is the question at the heart of Augusto Boal's revolutionary Theatre of the Oppressed, originally published in 1979. Boal, a Brazilian artist and activist, has written a work that challenges the very premise of Western theater, starting with Aristotle and the first dramatists, and explores what social constructs lie behind the traditional theater form. Then, having explained such often invoked (but rarely scrutinized) terms as imitation, tragedy, and justice, he puts forward a new type of drama that bridges the long-existing gap between theater and politics. Central to his thesis is an attempt to bring spectators into an active role with the drama, encouraging them to comment on the social situations they see presented and suggest potentials for change. Other chapters explore the writings of Hegel and Brecht, along with a lengthy analysis of one of the most profound political thinkers to ever pen a play, Machiavelli and his bitter comedy Mandragola. Boal's book is a challenging one for American actors often politically naive and heavily schooled in the traditions of Stanislavsky-based "naturalism," but this text is vital reading for activists, progressives, and all artists trying to effect social change. --John Longenbaugh ... Read more

Reviews (1)

Inspiration for the Artist
Perhaps the pursuit of art in this world of massive economic, social and legal inequality is simply privileged playing and bemusement? Perhaps art has no valued, but as marketable, profitable entertainment? Or, perhaps art (and specifically theatre) can actually change the world? Boal is not the first to speak of theater's revolutionary quality, but unlike his predecessors he takes to the street with his theory. Tracing the relationship between the producers of theatre and its audience, Boal exposes the historical oppression imposed by the dramatic machine/conventions of the past. In its place he offers theoretical and practical examples of his "People's theatre" (i.e., paratheatre or interactive theatre). For all seriously minded artist this is a must read. Especially if you wish to understand your role in artistic production and also wish to make a difference with you work. ... Read more

Book Description

Potent and empowering voice exercises by the master teachers who devised them! One of the constants that any actor, director or theatre teacher needs is a strong vocal warmup. This valuable, first-of-its-kind resource contains 75 exercises for both solo and group work, contributed by some of the best professionals in the world. There is a brief description of the history and purpose of each exercise followed by the exercise itself. The Voice and Speech Workout comes with a training CD that will be especially helpful to the student or theatre professional working alone. Here master teachers run through each exercise in real time (leaving enough time for response). Among the contributors are such important voice teachers as: Frankie Armstrong, Mary Corrigan, Marian Hampton and Dorothy Runk Mennen. The exercises are divided into nine different areas: Getting to Know Your Voice; Stretching, Centering, Releasing, Aligning; Breathing and Supporting; Making Sound (Resonance and Articulation); Exploring Pitch; Projecting and Calling; Integrating Voice, Breath and Text; Integrating Voice and Movement; Exploring Character Voices and Dialects. Editor Janet Rodgers is past president of the Voice and Speech Trainers Association and an associate professor of theatre at Virginia Commonwealth University. ... Read more

Book Description

This extraordinary play, which swept Europe before coming to America, is based on two historical truths: the infamous Marquis de Sade was confined in the lunatic asylum of Charenton, where he staged plays; and the revolutionary Jean-Paul Marat was stabbed in a bathtub by Charlotte Corday at the height of the Terror during the French Revolution. But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity? ... Read more

Reviews (2)

Revolution
WOW. I read this play for an english class and irght now we are watching a production of it. As an activist I have to say this play captures many of the tensions in all schools of the left. Performed in the early 60s, it reveals the debate that raged between the 'old' and 'new' left. All I can say is unbeleivable.

One of the most haunting plays of all time.
Written in the early sixties, the play frequently abbreviated as Marat/Sade is set in 1808, yet many of the comments are distinctly directed toward current events, notably the upheavals in Eastern Europe. Now, with the fall of the Soviet Union behind us, the play takes on even greater significance. Despite the reassurances of the asylum director, whether a mere fifteen years or well over two hundred years have passed, the nature of revolutions, and the fanatics who cause them, has not changed. Combining historical events with modern theatrics, Weiss has produced what has been and will continue to be one of the most disturbing, as well as one of the most important works ever to be performed on stage. ... Read more

Book Description

The year is 1963, the setting is small-town Michigan. At age fifteen, Peter Fenton is a gawky math whiz schoolboy with a dissatisfied mother, a father who drinks himself to foolishness, and no chance whatsoever with girls. That's when he meets Jackie Barron.

Jackie is the unlikely progeny of Double-O and Vera, professional grifters running a third-rate traveling carnival, and he's been part of the family business since he started earning his keep as the World's Youngest Elephant Trainer. Jackie is a smooth-talking teenage carnie with his own Thunderbird, and with wisdom beyond his years.

Jackie shares Pete's way with numbers, and he has a proposition. They'll start a rigged casino in Jackie's basement and take their classmates for thousands of dollars. Pete hesitates, but not for very long. Two years later, he's working joints for the Barrons' Party Time Shows, wearing sharkskin suits and alligator shoes, and relieving the public of its hard-earned cash. He learns to hold his own with veteran con men who have nicknames like the Ghost, Horserace Harry, and Talking Tony, and colorful personalities to match. This is the world of the Alibi and the Hanky Pank, of Flatties and the mark. Amazingly, Pete Fenton has never been more at home.

But in this strange new world with its topsy-turvy code of ethics, where leaving a mark without a dollar for gas is outlawed while cheating a best friend is par for the course, the tension between teacher and student grows until Pete finds himself attempting the ultimate challenge: to out-con his mentor.

Eyeing the Flash is a fascinating insider's view of the carnival underworld -- the cons, the double-dealing, the quick banter, and, of course, the easy money. The story of a shy middle-class kid turned first-class huckster, Peter Fenton's coming-of-age memoir is highly unorthodox, and utterly compelling. ... Read more

Book Description

This text presents a clear and concise explanation of argumentation and provides models for good argumentation, particularly as it applies to academic debate. ... Read more

Reviews (3)

Fare Book - Nasty Price
The book is very basic (almost superficial) but covers most of the important ground well enough. However, it has two major draw-backs:
1)Anyone familiar with Debate or Critical Thinking, will find that it offers very little that is new.
2)The Price - There is no way to justify the high price of the book. It has very low value for money.
In short - If you are an absolute novice, look for it in a library, otherwise you could better use your time and money.

It was great.
Book was great. It was used but in good condition. It arrived in only a couple days.

Great resource book for debaters!
This book is an excellent resource for both high school and college debaters in both the policy and value areas. I highly recommend it! ... Read more

Book Description

A Dictionary of Theatre Anthropology elucidates the nature of dramatic action and the actor's craft by examining the dramatic event cross-culturally. More than just a dictionary, this is a handbook for theatre practitioners and a guide for students and scholars of transcultural performance. Delving into the underlying principles of technique in both Occidental and Oriental traditions, A Dictionary of Theatre Anthropology aims to expand our knowledge of the possibilities of the scenic body, and of the spectator's response to the dynamics of performance. The result of ten years' research, the dictionary is lvishly illustrated with photographic essays as well as drawings and diagrams. ... Read more

Reviews (1)

Easy to understand
The book of Barba is an essential help for acting students, because it explains in easy ways difficult topics. ... Read more

Reviews (5)

A Must Read For Those Entering the Theatre
I found this book to be extremely helpful when teaching churches how to adapt theatrical techniques to the church setting. It is also a unique handbook that breaks down the lingo and explains the need for a stage manager in a show. As a professional, I find it valuable to recommend to those who have never been in theatre or those learning to become a stage manager. Everything is concise and to the point without talking down to people. I highly recommend this book.

Introductory book on stage management
If you're thinking of becoming a stage manager-- "totally responsible for totally everything" as a trainee under Daniel A. Ionazzi put it--then I would strongly recommend THE STAGE MANAGEMENT HANDBOOK. This practical book is divided into four parts: pre-production, rehearsals, performance, and human behavior in organizations. At the end of each chapter within these sections are full-page reproductions of associated paperwork. For example, at the end of "Auditions" you will find a completed audition fact sheet, a completed audition selections form, and a sample audition information card. Blank forms can be found in the appendix. An examination of the paperwork alone lead me to a better appreciation of what a stage manager does.

The text is highly readable and gives the reader the feeling Ionazzi is peering over one's shoulder anticipating questions and making sure the reader does not overlook important details.

The layout of the book is conducive to notetaking. There is a three-inch margin on the left-hand side of each page where gray-boxed definitions of theater terms like "ghost light" and "cyclorama" pop up. The space in between the boxes can be used for notes.

Additionally, THE STAGE MANAGEMENT HANDBOOK includes a bibliography organized by subject area (Acting, Costumes, Directing, Lighting, etc.) and lists addresses and phone numbers for journals, directories, and unions. Ionazzi is employed as director of productions in UCLA's School of Theater, Film, and TV.

Highly recommended
I found this book to be full of wonderful ideas (too bad I had already learned most of them the hard way :-). This is a wonderful reference for the professional stage manager but can also be easily adapted for community or college theatre as well.

Good Starter Book
The Stage Managment Handbook is a great book for those who are new to the stage managment scene. However, those experienced in stage managment will probably not find this book very informative. So... if you're new and looking for a place to start, I wholeheartedly reccomend this book. If you are a backstage vet, then spend your money on something more advanced.

A great reference book!
I keep buying this book for friends who want to make Stage Management their career. It has great pointers,forms,glossaries and a complete look at what you are getting yourself into when you agree to stage manage even a community theatre production. It is cheaper than the Lawrence Stern book, which is also an EXCELLENT book. ... Read more

Amazon.com

In 1953, When Audrey Hepburn burst onto the screen in Roman Holiday, she forever changed the international ideal of elegance, grace, and beauty. Suddenly, glamour and even sexiness seemed attainable for women everywhere; Audrey was uncommonly beautiful, but she was real--hers was a look anyone could aim for, but few could pull off as effortlessly or effectively. By mixing a few classic elements of "Audrey style"--the little black dress, ballet flats with slim capri pants, bold hats and sunglasses--suburban housewives became more Hollywood than Hoboken in an instant.

Here author Pamela Clarke Keogh introduces us to the woman behind the clothes, using words from friends, fellow actors, and designers who dressed her to paint a picture of a truly remarkable woman. A humanitarian, artist, friend, and above all, survivor, Audrey inspired women and men alike to approach life with spirit, grace, and simplicity. The nearly 100 color and black-and-white photographs, paired with original sketches from such fashion luminaries as Givenchy, Manolo Blahnik, and Vera Wang, show that Audrey was much more than a beautiful, well-dressed personality; her courage and individuality come shining through in every page. --Leah Ball ... Read more

Reviews (56)

For audrey fashionistas
This book is somehat hypocritical - the text urging us to find our own, individual style which is what Audrey would have wanted, among inserts urging us to slavishly imitate Audrey's clothes and makeup! The photo of the author in a very audrey-esque black turtleneck notwithstanding, this is a good effort, with wonderful photos making up for the slight and overlaudatory text. (Givenchy could have written a bit more, I thought, maybe he is not a very literary man) Check out 'Adieu Audrey', another (superior) tribute.

Fabulous tribute to a woman w/style & beauty beyond compare!
As an avid admirer of Audrey Hepburn, I have long been aware that she was not just exceptionally beautiful, but genuinely kind and generous as well. This book serves as not only a tribute to a personal grace, beauty, and stylishness beyond compare, but manages to also capture her history as a great humanitarian. I was enthralled by the elegant photographs and the insightful prose accompanying them. Like Audrey, this book is the epitome of grace, beauty, style, warmth, and substance. Exceptional subject AND exceptional author, indeed! I will return to this volume again and again for many years to come. It deserves 5+ stars!!

A perfect book about a perfect lady
I really like this book-it really shows what an absolutely beautiful lady she was-she certainly was very sensual and sexy.She knew how to project herself without going overboard-
the lady had class and it really showed.There aren't any actresses like Audrey anymore-I really miss her.

I highly recommend getting this book.

Delivery doesn't match topic
A book like this should have more pictures. The ones it does have don't have captions. The writing is fairly ameteurish but does have some interesting stuff despite being from an angle I didn't like. I didn't like the big black pages with the white lettered quotes not just because some of the quotes weren't especially good, but because you can't read the middle that is in the binding and seems to be poor quality ink or paper. All around this book is just okay, great topic, poor delivery.

The Zen of Audrey's Style
A fun book for all Audrey admirers with a gentle warning to unquestioning mimics: The essence of Audrey is not to follow. ... Read more

Book Description

An elegant guidebook for performers on every stage and screen, from the long-time mentor to many of today's biggest names in acting.

"Letters to a Young Actor is full of Brustein's first-hand, hands-on wisdom combined with his wonderful good nature and generous spirit. This all-around man of the theater loves actors." (Christopher Walken)

"Robert Brustein's writing on the theater has always combined an unabashed love of the subject with unblinking analytical clarity and an often fierce moral urgency. It is no surprise, then, that his Letters To A Young Actor is both passionate and cautionary: Brustein embraces the exhilaration of the actor's expression (and the attendant applause) while never losing sight of the great responsibility that goes with it. This is essential reading for all actors who are as serious about their craft as they are about their careers." (Rocco Landesman)

The founder and director of the Yale Repertory Theater, as well as Harvard's American Repertory Theater, and the drama critic for The New Republic for going on thirty years, Robert Brustein is a living legend in theatrical circles. In Letters to a Young Actor, he not only seeks to inspire the multitudes of struggling dramatists out pounding the pavement, but also to reinvigorate the very state of the art of acting itself.

Brustein is a man of strong opinions and formidable intellect. Stocked with a wealth of stories about the now rich and famous (he has at various points in his career cultivated such talent as actors Meryl Streep, Marisa Tomei, Cherry Jones, Debra Winger, Sigourney Weaver, Christopher Walken, Tony Shalhoub, Henry Winkler, Christopher Lloyd, Claire Bloom, and many, many more), he brings both passion and a peerless authority to his subject. His telling anecdotes from decades of experience help explain how and why those who made it big are the successes they are today-and what struggles they faced along the way. From why Method acting is not the answer, to the critical importance of paying attention in English Lit. classes, Brustein's advice is clear, persuasive, and inspiring. ... Read more

Book Description

Perhaps the most complete overview yet of the voice-over business, this book explains more than just the voice talent's job. It describes the whole production process and what's expected of you by the writer, engineer, ad agency, agent, talent union -- and, of course, the client.

Learn all about interpreting scripts and taking direction.Preparing your demo tape.What happens during recording sessions.How voice casting works.Exactly how much voice-overs pay. And much more.

Complete with over 20 pages of sample radio, TV, narration and animation scripts, this is one book that has people talking. ... Read more

Reviews (5)

Picks up Where the Others Leave Off
I can recommend this book on two conditions: one, if you have already read The Art Of Voice Acting by James Alburger and two, you are enrolled in a voice workshop or class where you can ask an instructor follow up questions. Some of the advice in this book is patently false. For example, a three and a half minute demo tape? Most demos run one and a half to two minutes, tops. And the author gives the impression that you can make your own demo, when the industry demands a professionally produced tape or cd just to get an agent. It's not fair to say that all the information within this book is not useful, but I would place it a distant third behind the two fine books by Alburger and Elaine Clark.

Excellent "Producer's-Eye View" of Voiceovers
Don't start with this book, because you need to have a foundation of talent and craft before some of the things in here will begin to make sense. But if you've got some decent chops (from classes or perhaps by working through Susan Blu's "Word of Mouth" or Elaine Clark's "There's Money Where Your Mouth Is"), by all means profit from this excellent guide to the "externals" of voiceover work.

I say "externals" because this book does not really focus on the inner journey that a voice actor must undertake to become skillful: the acting techniques, like relaxation, concentration, visualization, and so forth. But there are other books that cover such things (including the two mentioned above).

Where this book shines is in describing the real-world environment in which voice actors must work, a world in which producers and directors have a sense of what they want (i.e., "be more conversational"), and whether or not they are getting it, but lack the ability to guide the talent very far in precisely how to achieve it. But, as the author himself admits, "The purpose of this book is to explain what to do with your voice talent once you have it."

Douthitt outlines a "4-Point Plan to Success" at the outset of the book:

1. Competitive abilities (you are as good as the people already doing the work);

2. Proof of abilities (an outstanding demo tape);

3. Connection to the work (learning about jobs, primarily through an agent); and

4. Availability (you are close to the market and able to attend auditions, call-backs and recording sessions throughout the business day).

This theme is carried throughout the remainder of the text.

If there is an overall message to this book, it is, "Be realistic." Douthitt makes it clear that it takes a lot of commitment and dedication to succeed in this field. But he also makes it clear that lots of mere mortals are doing it.

Because of Douthitt's background as an engineer, the technical discussions in this book are accurate and helpful - which sets it apart from most other books on the subject. The book reads very well, no doubt reflecting the contribution of editor Tom Wiecks. The book provides depth in more specialized fields, such as industrial narration, that receive little notice elsewhere.

The author's sense of humor (he would probably call it healthy cynicism) is evident throughout. A priceless pair of diagrams on pages 87 and 88 depict recording session hierarchy: "how it's supposed to work" and "how it often works." The first diagram sets out a neat, orderly chain of command starting from client through agency people through producer to engineer to talent. The second, however, shows a chaotic arrangement of people and arrows, all of which point to the engineer and the talent. "Plan to do seven takes for every 'director' in the room," Douthitt dryly notes. (Later in the book, on page 204, he invites the reader to try voicing the same airline tag with 70 -- yes, 70 -- different one-word directions taken from actual studio sessions, including such helpful gems as "patriotic," "babyish," and "like a cat would say it." Talk about frying your brain!)

An excellent book and much-needed in the field.

The "Bible" For The Voice-Over Profession
After reading and then re-reading Mr. Chris Douthitt's "Voiceovers: Putting Your Mouth Where The Money Is," I am pleased to have the opportunity to share my feelings regarding this wonderful, essential tool for the commerical voice talent. The voice-over profession is stimulating and exciting, but can be somewhat confusing for a beginnng and intermediate-level talent. Why? Because the majority of the information one needs to be a successful performer can be difficult to obtain. Mr. Douthitt gathers it all together for you, and puts it into an easy-to-understand format. I firmly believe this publication is THE textbook, the "Bible" for the voice-over business. And because this is a business, Mr. Douthitt is exceptionally candid about what one can expect regarding the commercial voice-over talent's moneymaking potential. The author wants the reader to really consider whether or not this profession is the right one for him/her (there is a considerable start-up cost involved--believe me, I found out quickly!), and provides advice on honing one's talents and abilities. "Voice-Overs: Putting Your Mouth Where The Money Is" gives practial, valuable advice on producing your demo tape; do's and dont's for the talent; what to expect at the recording session. The book also introduces the reader to the studio, and details the roles of all the professionals involved in creating a voice-over spot (from the writer to the engineer to the ad agency to the agent to the TALENT to the client). "The copywriter is the architect of the ad. The talent is the carpenter. The script is the blueprint. The studio engineer provides all the construction materials." Also being a writer, I LIKE that passage! Mr. Douthitt also provides sample scripts which he analyzes, and that the reader can practice. And, the glossary is extremely helpful. Before reading this book, I had voice-over training. However, this publication has proven to be an essential tool if I wish to be really successful. And, isn't that what you want? To conclude, this marvelous textbook is a witty, entertaining read. I sincerely hope I have the opportunity to work with the author one day. Mr. Douthitt--thanks for shining a bright light on the voice-over world!

Good info, but beginners may want to look elsewhere
This has some excellent information on getting an agent, a demo tape, and some real inside dope on the business. It's also clear, and well-written. However, if you're like me--a complete novice--I'd suggest you look elsewhere. The authors (correctly) tell you to take voice lessons, and while they have a few helpful excerises, the book isn't much good for actually helping a beginner develop his or her talent. It's telling that the chapter on money comes two chapters before the one on "Getting Talented." In other words, the book is great for career advice and technical advice about the business, but not so great on helping one develop the tools to get there.

The book to buy if you want a complete intro to the field.
Chris Douthitt's book is the one to buy if you want a complete introduction to the voice-over business. Rather than try to teach you how to be talented (which would be a specious claim at best), Douthitt carefully describes each aspect of a voice actor's career so that you can see if your talent and motivation are a good fit. His humorous and succinct manner make the book a breeze to read and re-read--you can use it as an introduction or as a quick review. I've had the good fortune of meeting and working with the author subsequent to the publication of this book; he's a highly knowledgeable, experienced, talented voice-over engineer-artist. If you have any interest in this field at all, Mr. Douthitt is an excellent resource--and his book is a must-buy! ... Read more

Book Description

Reviews (9)

Priceless.
If you are in any way associated with the works of Shakespeare - on stage, in the classroom, for fun, whatever - you have to have these two books. Let's face it, there are just some terms that defy all logic and explanation. The lexicons will solve it.

The layout is a bit grueling, but worth the payoff, especially for those in theatre without the benefit of extensive Shakespeare training.

Remains an excellent tool
I assign a higher rating to Schmidt's lexicon than to C.T. Onions's *Shakespeare Glossary* (which I have also reviewed) for the reason that, although both compendiums by now do show their age, Schmidt's two volumes (one of course needs N-Z with this one) are all in all in many ways more comprehensive and informative than Onions's single-volume work (even after its updating by Eagleson).

Readers of Shakespeare should NOT assume that if they use an unannotated edition (e.g. the Oxford Complete Works) they will understand everything they read if only they consult Schmidt or Onions or both. For one thing, many words in Shakespeare look intelligible from a modern viewpoint, but in fact had a different meaning in Shakespeare's day: an uninitiated reader will miss many such instances if s/he does not use good annotated editions by expert scholars, who provide glosses for well-considered and essential reasons. And I do not even dwell on the need to be aware of bawdy puns (see my review of Onions), or of other specific usages (e.g. legal terms), on which a good deal of new work has been done in recent years. Therefore, purchase of valuable volumes like these should be seen as SUPPLEMENTARY to the use of good, carefully annotated editions. - Joost Daalder, Professor of English, Flinders University, South Australia

The Next best thing to having the Bard next to you . . .
This is, simply, the essential, definitive guide to the Bards language. Almost every word in every Shakespearean play is here, and instead of having to guess what the meaning is in relation to the play, each word is listed by play and meaning in each heading. It can even be used for other lexiconic purposes is you're having trouble trying to figure out what Shaw means in one of his passages from "Saint Joan", or Ibsen in "when We Dead Awaken". Unless they suddenly discover a new play by shakespeare, this reference will never go out of date.

And hey, it's not called the "Shakespeare Lexicon and Quotation Dictionary (Vol. 2 N-Z)" for nothing, people. You're going to have to get the other one, but there's no real problem, because this is simply just the greatest lexicon ever for Shakespeare. Your search ends here if you ever need to understand the Bard words.

The Best, most useful guide to the language of the Bard ...
This is, simply, the essential, definitive guide to the Bards language. Almost every word in every Shakespearean play is here, and instead of having to guess what the meaning is in relation to the play, each word is listed by play and meaning in each heading. It can even be used for other lexiconic purposes is you're having trouble trying to figure out what Shaw means in one of his passages from "Saint Joan", or Ibsen in "when We Dead Awaken". Unless they suddenly discover a new play by shakespeare, this reference will never go out of date.

And hey, it's not called the "Shakespeare Lexicon and Quotation Dictionary (Vol. 1 A-M)" for nothing, people. You're going to have to get the other one, but there's no real problem, because this is simply just the greatest lexicon ever for Shakespeare. Your search ends here if you ever need to understand the Bard words.

Shakespeare Lexicon and Quotation Dictionary
I am a classical actress, English teacher, and Shakespeare scholar. This is the best text to use as an adjunct to whatever version of the play I'm working on (Arden's best.) It lists every word Shakespeare used; it's a must for actors who want to be very clear on what they're saying. ... Read more

Book Description

What steps are involved in making the jump from a script's text to an engaging imaginative stage? From Page to Stage explores the relationships between text analysis, imagination, and creation. ... Read more

Reviews (2)

An excellent book for all designers
Rosemary Ingham really captured the fundamentals of what it takes in creating and collaberating a design. Her book is full of examples of sources of inspiration, forms of play analysis, commentary on the NEA, and transcripts of directors and designers communicating ideals. This is a wonderful book and it belongs on every designers shelf.

great for beginners
This book is a great help for me since this is my 1st year at theater stage design ... Read more

Book Description

Julia Wood, a leading scholar in the field of communication, brings us a new edition of the extremely popular COMMUNICATION MOSAICS: AN INTRODUCTION TO THE FIELD OF COMMUNICATION. The new edition continues with the holistic approach to the field of communication by first explaining the basic processes central to all communication contexts (e.g. listening, perceiving, using verbal and nonverbal communication, establishing climate), and then applying these processes to various contexts (interpersonal, small group, public, organizational, intercultural, and mass communication). Through reviewer and student-praised "Student Voices" features, seamless and thoughtful integration of diversity, skill-building pedagogy and real-life examples, students are exposed to the vast world of communication and the tools needed to become effective communicators. This book will provide readers with a clear understanding of the fundamental skills and processes that are a part of the broad array of communication encounters in personal, professional and public life in the 21st century. ... Read more

Reviews (5)

Dragon Country.
"It is only in his work that an artist can find reality and satisfaction, for the actual world is less intense than the world of his invention and consequently his life, without recourse to violent disorder, does not seem very substantial," Tennessee Williams wrote in the 1948 essay "The Catastrophe of Success," eventually added as a preface to the "memory play" that catapulted him to stardom, "The Glass Menagerie" (1945). Prophetic words of a man who drew heavily on his own experience, on life in the economically depressed South, homosexuality, alcoholism, physical and mental infirmity, violence, passion, desire, love and loss, but most of all his profound sense of humanity and his understanding of the drama of everyday life to create Dragon Country, that uninhabitable and yet inhabited world, that land of unendurable but nevertheless endured pain (also the title of a 1970 collection of plays) of unforgettable pieces such as "The Glass Menagerie," "A Streetcar Named Desire" (1947), "Summer and Smoke" (1948), "The Rose Tattoo" (1951), "Camino Real" (1953), "Cat on a Hot Tin Roof" (1955), "Orpheus Descending" (1957), "Suddenly Last Summer" (1958), "Sweet Bird of Youth" (1959), "The Night of the Iguana" (1961) and "Not About Nightingales" (set in 1938 but only brought to the stage 50 years later).

Born Thomas Lanier Williams to an overbearing, hard-drinking, abusive, frequently absent father and a doting mother, Tennessee acquired the sobriquet he later chose as his first name in university, where his Deep South accent made him an easy target for his classmates. A writer since his youth, he saw his first short story ("Isolated") published in a high school newspaper; and after several other prose publications, his second play "Cairo! Shanghai! Bombay!" was produced by a Memphis amateur company in 1935. (His first play, the unstaged "Beauty Is the Word," had been a 1930 University of Missouri drama class assignment which, submitted to the school's Dramatic Arts Club contest, won the first honorable mention ever to be awarded to a freshman). After a stint with his father's shoe company, where he had gone to work at parental insistence, he graduated from the University of Iowa with a Bachelor of Arts degree in 1938. His big breakthrough came with "A Glass Menagerie;" the story of fading Southern belle Amanda Wingfield (who, like many of Williams's most memorable characters, frantically clings to the illusion of a world gone by), her crippled daughter Laura (the owner of the titular glass figurine collection), "gentleman caller" Jim (Laura's suitor), and Amanda's son Tom, Williams's thinly veiled alter ego who, like the playwright, sees his vocation as a poet crushed under his daily job at a shoe factory. Yet, looking back at his struggling life preceding "Glass Menagerie," Williams later came to regard that time as more real than the life made possible by fame and fortune: in fact, "it was the sort of life for which the human organism is created," he wrote in "The Catastrophe of Success."

The present compilation, one of two volumes in the magnificent "Library of America" series, brings together the more significant works of Williams's early years and of his peak as a playwright through 1955, including inter alia his two Pulitzer Prize winners ("A Streetcar Named Desire" and "Cat on a Hot Tin Roof"), the only recently-rediscovered "Spring Storm" (1938) and "Not About Nightingales," the initial, unsuccessful version of "Orpheus Descending" ("Battle of Angels," 1940), as well as excerpts from the one-act play collection "27 Wagons Full of Cotton" (originally from 1945, augmented and republished 1953), among them the collection's title piece plus "The Lady of Larkspur Lotion," "Something Unspoken," "This Property Is Condemned," and others. The second Library of America volume covers Williams's creative period after 1955. Neither tome is all-inclusive; a fully comprehensive compilation would easily have required three volumes for the plays alone, not to mention his poetry and prose; and a 1955 caesura certainly does make sense. Still: completists will have to look elsewhere in addition. Among the more significant omissions in this first volume are "Cairo! Shanghai! Bombay!" (which I would have liked to see included if only because it was his first-ever staged play) as well as the modestly successful "American Blues" (1939) and the remaining one-act plays from "27 Wagons Full of Cotton." Volume 2 similarly focuses on Williams's more significant later plays; omitting, e.g., "Gnaediges Fraeulein," "In the Bar of a Tokyo Hotel," "The Red Devil Battery Sign," "The Notebook of Trigorin" - his adaptation of Anton Chekhov's "Seagull" - and his infamous "Baby Doll" screenplay, as well as its stage adaptation "Tiger Tail."

Although many of Williams's works reached audiences not only on stage but also on the silver screen, beginning in the 1950s he came under increased scrutiny due to his unconventional lifestyle. Even in his plays' most successful screen adaptations, the more controversial elements, such as Brick's unavowed homosexuality in "Cat on a Hot Tin Roof" and the sexual tension between Stanley and Blanche in "A Streetcar Named Desire," were either muted or censored entirely; and particularly in later years, criticism leveled against his plays was often truly motivated by objections against the man himself. - "The bird that I hope to catch in the net of this play is ... the true quality of experience in a group of people, that cloudy, flickering, evanescent - fiercely charged! - interplay of live human beings in the thundercloud of a common crisis," Williams wrote in a stage direction in "Cat on a Hot Tin Roof." But while his own life's thunderstorm did eventually prove fatal (he choked to death on a medicine bottle cap in 1983), over the course of his life he revolutionized Southern drama in a way only comparable to Faulkner's impact on literary fiction, and set a shining example for generations of later playwrights. All-encompassing or not: the Library of America's collection of his works is an excellent place to begin a journey of appreciation into his Dragon Country.

Tennesse Williams: Pulitzer Prize Winner
Tennessee Williams is one of my favorite playwrights, and he was one of America's best. I think he was clearly also one of the 20th Century's best. Wonderful poignant tragic storyteller with memorable characters, like the frail southern belle Blanche in his classic play "A Streetcar Named Desire", or Stanley her uncouth brother-in-law who destroys her last shot at happiness. Another great play is "The Glass Menagerie", his first hit, which was an enormous success and catupulted him instantly into the forefront of emerging young playwrights at the time. It's a very entertaining story, very readable, I highly recommend you read it. Another is "The Rose Tattoo"--also see the film of the same name. And Williams' last great play was "Cat on a Hot Tin Roof."

David Rehak
author of "Love and Madness"

The plays are great, but a misleading description
The plays contained in this volume are wonderful and interesting (especially in terms of his development) to any fan of Tennessee Williams... but I purchased the book believing it was the COMPLETE collected plays 1937-1955, which it is not. It is a group of "selected" plays. I bought it hoping to get more of the one-acts and historical oddities. It contains some of these, but mostly consists of his the more well-known plays, which anyone who would buy this book likely already has (e.g. Cat. Streetcar, Menagerie). Perhaps Amazon.com might want to place a line of explanatory commentary to that effect on the product description.

A Wonderful Book to Own, to Treasure
The new Library of America volume "Tennessee Williams: Plays, 1937-1955" is the first of two volumes. (The second volume covers the plays from 1957 to 1980.) This is a magnificent book, beautifully printed and bound. It is comprehensive (over 1000 pages) and has extensive notes and a complete chronology of Williams's life. Several of the plays are printed with commentaries by Tennessee Williams himself, essays that are very informative. This book belongs in the library of any fan of American theater.

If you have only seen the several movies made in the 1950's from his plays, reading these will prove a revelation for you. Because of the restrictions put on movies in the 50's, most of his works were deeply expurgated, especially any overt references to homosexuality. So reading the original plays here often reveals underlying previously obscure motivations/conflicts of some of the characters: why, for example, Blanche DuBois had fallen from being a privileged Southern Belle to the pathetic wretch who appeared on Stanley and Stella's doorstep.

Unlike many playwrights, Tennessee Williams tended to give long, detailed stage directions. This gives the reader of the plays a novel-like narrative, making them wonderful experiences for readers who do not ordinarily enjoy reading plays. The sensuous atmosphere, the classical -- almost Greek sense of tragedy that looms in almost all of these plays, and the exquisite use of language make this a unique reading experience. The writers who had influence over Williams's style are never named but seem apparent, at least to this reader. For example, when reading "The Rose Tattoo" I was reminded of the great Spanish poet/playwright Garcia Lorca's "House of Bernarda Alba." The cackling, vicious, vindictive neighbors, like some Greek Chorus, echoed many of the women in Lorca's work.

This volume even includes the play "Not About Nightingales", a play never performed in Williams's lifetime, but which was recently brought to Broadway in a Tony-winning run. "Not About Nightingales" is a stark prison drama that is quite different from the style he eventually developed. Among the "great" plays included here are "The Glass Menagerie", "A Streetcar Named Desire", "Summer and Smoke", and "Cat on a Hot Tin Roof." Like all volumes in the Library of America series, this book has been given first-class treatment. Beautiful bindings, ribboned marker, and fine acid-free paper for permanence. It is meant to be owned and treasured forever. You will love this book....

Plays exploring human passion
Tennessee Williams wrote plays exploring human passion with an unflinching and iconoclastic candor, shattering conventional proprieties and transforming the American stage of his day. This outstanding, two-volume series from The Library Of America showcases Williams' extraordinary range and achievement as a playwright with 32 of his works, including recently rediscovered plays of his early career (Spring Storm; Not About Nightingales). All of his works from the years 1937 through 1980 are here, including his world renowned plays The Glass Menagerie; A Streetcar Named Desire; Orpheus Descending; Suddenly Last Summer; Sweet Bird Of Youth; The Night Of The Iguana; and his Pulitzer- Prizing winning Cat On A Hot Tin Roof. This two volume collection is further enhanced with a chronology of Williams' life, explanatory notes, an essay on the tests of the plays, and cast lists of many of the original productions. Tennesse Williams: Plays, Volumes 1 & 2 is an essential addition to personal, scholarly, and theatrical history collections. ... Read more

Book Description

This text presents easy-to-follow lesson plans for instructors who have no previous experience in teaching dance to children. ... Read more

Reviews (2)

Wonderful
Shipped quickly!!! Wonderful condition! I would buy from seller again!

Give Them Wings
First Steps in Teaching Creative Dance to Children is an excellent tool for the aspiring dance teacher. Mary Joyce prepares the beginning dance instructor and offers innovative ideas for seasoned teachers. As a dance educator, I have drawn on this text many times to spice up my lesson plans! I highly recommend this book to any teacher working with children as Joyce inspires adults as well as children to find the magic in creative dance. ... Read more

Book Description

This valuable resource explores professional degree programs in studio art, dance, music, and theater. Every important facet—from admissions criteria to contact information—of more than 1,000 programs at over 600 institutions is included, so anyone interested in studying the visual or performing arts can make the right choice. ... Read more

Book Description

This new full color edition is significantly up-dated to new interviews with "old masters" and successful "divas" of the industry, up-dated safety tips, and additional insights into the business of scenic design. Expanded to include a new chapter dedicated to painting techniques, the book will now feature detailed step-by-step descriptions of common two-dimensional painting techniques. Wood graining, marble and stone, and brick painting are few examples of the new techniques to be covered.

*New interviews with "old masters" and successful "divas" of the industry
* Insights into the business of scenic design
* A new chapter dedicated to painting techniques and detailed step-by-step descriptions of common two-dimensional painting techniques ... Read more

Reviews (8)

A wonderful book about a passionate endeavor.
This book is a beautiful account of the struggles and events surrounding Harold Clurman during his time with the Group Theater. Harold starts off by revealing how his life brought him to establish the Group along with Lee Strasberg and Cheryl Crawford. It then continues and describes the significant struggles and events encountered by the Group and its members along with some beautiful and extremely important observations Harold made, not only regarding the theater community and its participants, but also about our society in general and its effect on art in general.

This book is an absolute must for any serious actor or director. For that matter, anyone serious about life would gain from reading this book. The Group Theater was a wonderful "experiment" fostered by some very passionate people who not only helped to shape theater in America, but they also played a significant role in laying the groundwork from which some of the best acting and directing has emerged as seen in films and theater since that time.

I stand in disbelief when folks in the "business" don't know about Harold Clurman or the Group Theater and it members.

A magnificent and inspiring historical document
The Group Theatre, modeled off of the equally influencial Moscow Art Theatre, was an artistic organization that completely and drastically revolutionized not only American Theatre, but World Theatre as well.

Formed in the 1930's and comprised of what has become a literal who's who of Theatre: Clifford Odets, Elia Kazan, Harold Clurman, Robert Lewis, Stella Adler, Lee Strasberg, Cheryl Crawford, John Garfield, Sanford Meisner and many others, The Group Theatre sought to create a vibrant and organic native theatre that sought to not only mirror the times but also instigate radical social change.

At no other time in American history has an artistic group been comprised of so many talented individuals focused on one aesthetic and political goal. Despite one's political leanings (make no mistake, The Group Theatre were extreme leftest liberals), The Fervent Years provides and endless and bountiful amount of inspiration and stimulation for any theatre artist.

Clurman writes in a fine dramatic style that boils with passion, wit and insight. The Fervent Years is required reading for all devotees of The Theatre. But don't let that scare you, it is a most entertaining read at the same time.

A Motivating, Historical Piece
Admittedly, I read this under duress in my "Theatre History Seminar" course in college. However, it turned out to be one of the most inspiring pieces I have ever read.

_The Fervent Years_ chronicles the birth and triumph of The Group Theater. This group of actors, directors, producers, and theater enthusiasts sacrificed time, money, and easy fame to explore the roots of drama. The product of their efforts was the creation of a truly American style of theater.

Although the book has a decidedly theatrical spin, I think that all readers (from all backgrounds and interests) can benefit from reading this excellent piece. Right before I have to face a major challenge, I whip out my copy and give it another read.

Also, Clurman's self-centered, self-celebrating anecdotes never cease to amuse.

INSPIRING!
This is the book that inspired me to be an actor. It is all that the theatre should and could be. Every actor, director, teacher, should read this book. Clurman's passion and emotion is evident in every line. He is an amazing man and every actor in this country owes something to the Group.

Splendid!
Your not an actor till you read this. Period ... Read more

Reviews (7)

Zurich inside Stoppard's own head
This is probably my favorite Stoppard play. Everything about it is raised to such a level of excellence that it's difficult to imagine how it can be surpassed.

Stoppard showcases his linguistic talents at their most dazzling and expects the reader to keep up intellectually. Not to sound daunting, but in order to enjoy "Travesties" properly, it helps to know some rudimentary German, French, and Russian; be well familiar with Wilde's "The Importance of Being Earnest" and James Joyce's "Ulysses"; and also to have a good factual knowledge of the Great War and the Great October Revolution. If you do not have this background knowledge, you risk missing out on most of Stoppard's witty insight and leaving the theatre/closing the book confused and disappointed.

The most important thing to remember about Travesties is that it is essentially Stoppard arguing with himself. This really shines through in his "derailed" scenes, where the characters have to abort a scene half-way through because it's obviously going in a wrong direction. Basically, it starts out with the characters being themselves, but as it progresses, one can see that they are simply two sides of Stoppard's own mind speaking to the audience through masks. And then it's as if the author remembers to keep his distance from the audience and steps back into the shadows. The effect is rather mystical; it's as if we are granted a brief glimpse beyond the fabric of what we take to be reality. What remains unclear is whether we are now looking into the "true" reality or yet another scene setting.

In short, buy the book, read it outloud, amuse yourself, alarm your neighbors.

Just plain genius!
This is one of my most favorite plays, and I was lucky enough to see it performed on stage. In 1917 Zurich, James Joyce, Tristan Tzara and VI Lenin are all converging on the movements that define their very careers later in life. The tale is narrated by Henry Carr, an actual historical figure, as an old man in 1972, who was with the three celebs as a young man, and his memory is a bit faulty! He once played Algernon in "The Importance of Being Earnest" which required him to buy some new trousers, and he insists that Joyce reimburse him. Thus starts a legal battle.

Travesties is a non-stop energetic creative retelling of history in its most fantastical setting. Read it, and if you ever get the opportunity, go see it!

Postmodern or just no historical perspective?
Zurich 1917, a marvellous subject. The meeting point of the Bolsheviks and other revolutionaries on one side, and of the new « revolutionary » artists, be they James Joyce and the stream of consciousness writers, or Tristan Tzara and the Dada movement.

The first interest of the play is to situate the dynamic of each revolutionary movement very well. Lenin is the figurehead of the revolutionary politicians, James Joyce and Tzara of the modern literature movements.

Then Stoppard makes them meet. In Zurich it is more or less an artificial meeting though they share most of their ideas (the files that are unknowingly exchanged at the beginning and exchanged back at the end show how identical their ideas are) and yet they have styles, general postures that make them unable to have a real dialogue.

Tom Stoppard goes even further by tracing along Lenin's positions on art. He shows the perfect contradiction contained - as Walt Whitman would say - by the man. On one side (Tolstoy), he understands that a work of art is a reflection (hence not a purely identical image) of social contradictions and therefore of society, and also a reflection of the contradictory artist (all artists contain contradictions) and his contradictory position in society (hence in the social contradictions of this society). On the other side, once in power, he condemns, at first, then wavers on the subject, Mayakovsky and the Futurist mocement, and definitely considers intellectuals as bourgeois individualists. But the artists of 1917 represent exactly a similar contradiction between the absolutely nihilistic approach of the Dada movement, and the mentally realistic movement represented by James Joyce. The former rejects all heritage. The latter rearranges the full heritage within a modern man's consciousness, hence within a revolutionary or disturbing consciousness.

The play is at times funny, at times realistic, at times dramatic, according to the points of view, but the essential one of these is the recollections two (minor) characters have of the period sixty years later. We are forced to accept that historical perspective : what it was then and what we can do of it now.

The conclusion of the play is typical perpetual movement, here perpetual syllogism : « Firstly, you're either a revolutionary or you're not, and if you're not you might as well be an artist as anything else. Secondly, if you can't be an artist, you might as well be a revolutionary... I forget the third thing. » Unfinished of course, like any historical achievement. History is always unfinished, in spite of Marx's dream of a contradiction-free communist society. This is the biggest sham of western philosophy ever dreamed of by a man of the amplitude and intensity of Karl Marx. You can be a genius but reality is more real than philosophy. The proof, as Marx liked to say, of the pudding is in my eating it. Full stop. Period.

Dr Jacques COULARDEAU

Maddingly elusive comic genius
i spent over 2 months working as assistant director of this play and it took my the entire course of which to believe that i had understood all of the jokes. Of course i then went on to read more of Joyce and Wilde and the play took on whole new volumes of meaning. Its that complex. Another review advised to curl up with it for an afternoon...fun, perhaps, but not nearly as rewarding as it could be having done the background needed to get this play. "Halfway to Finland Station with V.I. Lenin" seriosly folks, how many of us would get that reference off the bat? still, diffilculty aside, this play is so amazing and funny that one can spend the entire time chuckling with only the most cursorary of readings/viewings. There is an absolutly fantastic scene done entirely in limerick form where Stoppard stretches his poetic legs (which prove to be quite well muscled). Acadamians and ignoramouses alike, READ IT! IT WILL BLOW YOU AWAY!

A clever splicing of numerous noted works
Tom Stoppard was clearly showing off when he wrote "Travasties". In his research he cleverly discovered that V.I. Lenin, James Joyce (then young and in the midst of writing Ulysses), and Tristan Tzara, one of the leaders of the dadist movement, were living in Zurich simultaneously. Teamed up with Gwendolen and Cecily, two characters from Oscar Wilde's "The Importance of Being Ernest", and Henry Carr, a former member of the British Counsular Service, Stoppard wrote a theoretical account of their interactions in 1917. The result is "Travasties", a wildly intelligent and humorous play.

The play is set in the faulty memory of Henry Carr as he reminices about his experiences in Zurich (yes, he was there too) during "The Great War". As it was, Henry Carr, a non-fictional historical figure, played the role of Algernon in "The Importance of Being Ernest" in a play company owned by James Joyce. When James Joyce refused to reimburse Carr for the few hundred pounds he spent on his trousers in his overzealous attempt to "become" Algernon, a lawsuit ensued, which Joyce ultimately won. Indeed, Joyce indeed attained total victory by writing Carr into Ulysses as a drunken soldier. So, as one might imagine, the play is full of small stabs at James Joyce, namely by the elder Carr (at present during the play it is 1972).

The integration of Lenin and his wife, as well as Cecily, Gwendolen and Tzara, is fantastic and extremely immaginative, and the experience would, no doubt, be enhanced by first reading all of the works alluded to in the play.

Despite Tom Stoppard's obvious attempt to promote his own genius in "Travasties", the outcome is so fantastic, so interesting, and so, honestly, funny, that all is forgiven. Travasties is 71 pages long, and a reasonably quick read... spend one afternoon curled up with it, see it if you can, and muse over the connections (but not too loudly with the "aha!"s) you find... and I hate to end a review so blandly, but enjoy. ... Read more

Reviews (3)

Shalom Aleichem
Shalom Aleichem was for modern Jewish literature what Mark Twain was for American literature. In one for instance, Aleichem like Twain was the writer's own appropriation. Mark Twain originally was a sounding phrase used by riverboat operators. Shalom Aleichem -- also a sounding phrase -- is used in Jewish communities to welcome eachother and in congregation the bride of the sabbath itself. Both Twain and Aleichem created indelible unforgettable stories with indelible unforgettable characters...like Tevye. And whether you found Tevye through Topol, Mostel or Shalom Aleichem's turn of the century stories themselves, you saw not only a mirror held to the Jewish Everyman but a template for the better inside us all. I like to think that Shalom Aleichem, who died in 1916 would have gladly approved of the appropriation of his character Tevye in this wonderful celebration of life. In my opinion what makes this particular story such a great celebration of life is not that it shrinks from depicting life's sometimes harsh realities, but rather one's ability to overcome them through faith, family and a recognition of the inherent beauty of life. After seeing Tevye in action, his simple eloquence, his love for his family, his courage, his humanness, you can't rightly help yourself from feeling a shared sense of appreciation for life.
La chaim, to life. In all languages, hope sounds just as good.

TRADITION!
The first thing you have to realize is that this book is better performed than read. The amazing writing style makes you want to read it to the end. I recommend this book 100% to anybody that is interested in reading about a crazy village, a crazy family, a crazy man, an ofcourse a crazy tradition.

Fiddler Offers a Quality Theatre Experience
I loved the play. It it written with an ease and style that is not only pleasing to read, but also very smooth to perform. It is an eloquent statement about families and, of course, tradition. It offers us a view of the necessity of change and the importance that it has in society, not only then, but now as well. I would recomend that anyone interested in the Jewish way of life in the 20s and 30s in Europe, American musicals or simply in families, read this play; it will be well worth your while! ... Read more