Amazon.com

Sanford Meisner has been called "the theater's best-kept secret," and Sanford Meisner on Acting by Dennis Longwell gives some insight into what techniques the hugely influential drama teacher used in his 50-plus years of work. One of the founding members of the Actors Studio (with Lee Strasberg, Stella Adler, and Harold Clurman), Meisner developed his own special lessons based upon his understandings of the great Russian teacher Stanislavsky. Turning away from the sense-memory exercises common among his colleagues, his training focused instead on a realistic approach to imagination and creativity. Unlike many other educators associated with "the Method," Meisner had little tolerance for self-absorption or striving after strong emotional effect, instead preaching that clarity of purpose and efficient use of the psyche are the actor's greatest tools. Longwell's book follows a class of eight men and eight women through one of Meisner's 15-month courses at New York's Neighborhood Playhouse, with extensive transcripts taken directly from Meisner's notes to the students on the basis of their exercises. With an introduction by director Sydney Pollack, one of the many influential artists who studied with Meisner (the book includes accolades from Maureen Stapleton, Arthur Miller, Gregory Peck, and Eli Wallach), this is an excellent introduction that helps to demystify the work of a great theatrical teacher. --John Longenbaugh ... Read more

Reviews (20)

The reality of good acting
I agree... Sandford Meisner is by far one of the best kept secrets in acting. I have been studying the Meisner Technique approach to acting for almost a year a half now and it has absolutely changed me. Not just my acting but my life as well. This is a MUST HAVE for ANY actor. Whether this technique is right for you or not, the information you will get from this book will most defenitely help you understand what makes good acting.

Sanford Meisner On Acting
I am currently studying the craft of acting at one of the 3 year professional acting acadamies here in LA. I very much enjoyed reading this book and have done so at this point several times. I would most highly recommend it to anyone thinking about or currently studying the craft of acting.

In the first chapter (Setting The Scene: Duse's Blush), we are giving a chronology of Meisners life and how he came to be such a great and beloved teacher. It is also in this first chapter that Meisner recounts the story of Elenora Duse, a legendary Italian actress who played the role of Magda in Hermann Sundermanns Heimat. In the first scene of this play, as the story goes, she is a young girl that has an affair with a guy from the same village, and she has a child by him. Twenty-five years later, or thereabouts, she comes back to visit her family who live in this town, and her ex-lover comes to call on her. She accepts his flowers and they sit and talk. All of a sudden the actor realizes that she is blushing, and it gets so bad that she drops her head and hides her face in embarrassment. Although we learn that this does not happen every performance, it is this blush that is the epitome of living truthfully under imaginary circumstances. This is Meisners definition of all good acting.

The foundation of acting, is the reality of doing. It is this basic premise that is the spine of this book of exercises intended to bring the actor closer to their emotional self. It is an approach that is based on bringing the actor away from the intellectualizing of character analysis back to his emotional impulses and to acting that is firmly rooted in the instinctive. Through preparation, the actor is bought to a full state of emotional aliveness for those first precious moments on the stage at the beginnings of any scene. It would be impossible to escape the powerful impact of emotion or the importance of being able to realize and use effectively this impact in your performance.

Once those first precious moments of emotional aliveness that the actor has prepared for have elapsed however, the actor must be willing to enter into a state of, what Constantine Stanislovsky refers to as public solitude (as opposed to public exhibitionism). A complete surrendering of ego and willingness to make oneself vulnerable to the ultimate revealing of truth in who we are in the context of the words and circumstance written and demanded of the actor by the playwright.

Everything in acting is, of course, a kind of heightened intensified reality but it is based on one that is fully justified. Good acting isn't just the emotionless reciting of lines of text as mindless chatter. It is responding truthfully to the other person or persons on the stage. To fill words with the truth of your emotional life Meisner suggest that you must learn text coldly without expression in a completely neutral way. This learning should than be taken further through repetition mixed with a distracting independent activity. It is this repetition coupled with a distracting independent activity that takes the actor out of the intellectual mind into that of the of instinctual. That is, not thinking but simply acting and reacting honestly to what's happening on stage in every moment. But again, in order to get out of your head and into the emotional life of the instinctual, you have to know the lines so well that you don't even have to consciously think about them. As the logic goes; if you don't know your lines cold you can not get to the emotions. If you can't get to the emotions than you are nowhere near the heart of your instincts and can therefore not act or react honestly.

Interesting
An interesting read; detailed, descriptive & understandable. I was able to use some techniques described to advantage.

Living Truthfully Moment by Moment. Outstanding!
Sanford Meisner brings every actor who genuinely wants to stretch and bring stellar performances the wisdom to do so in this profound book.
The definition of acting is "living truthfully under imaginary circumstances" which I learned from this book, along with top training at Playhouse West in North Hollywood, CA, where this book was required reading.
Emotional preparation is crucial, BEING the character, and taking all focus off of you, while you react genuinely to the other person's movements, words, gestures, and actions moment by moment.
If you are serious about your acting career, this is the one book that will provide solid ground, which must accompany solid training and steady practice.

awesome book
I love this book is very unique in that it makes one feel like he/she is in the classroom, so it's very stimulating, highly reccommended. ... Read more

Book Description

This is a comprehensive survey of the technical and design aspects of play production, including scene design and construction, lighting, sound, costume, and makeup. Health and safety precautions for the backstage crew appear throughout in boxes labeled “Safety Tips,” and “Design Inspiration” boxes show how professional designers create the desired look. ... Read more

Reviews (2)

good textbook for student
we used this book in our theatre department and I find it very good for students who want a little knowledge of what goes on in the making of theatre.

Comprehensive? Yes! Acutate? You Bet! Teachable? ON TARGET
Teaching in this technical subject, like working behind thescenes in theatre, is difficult. You have so much to cover and neverenough time to get to it all. This text covers most all the topics related to production. The author has written it in a clear and open way which can be used to foster discussion as well as conveying straight information.. Appealling is the chapter on the design process, it sets the tone for "Why do I need to know all of this stuff". Even more importantly while setting forth a way to approaching design in the theatre it really sets forth a way to addressing life, as "a challenge" rather than a problem. I have taught from this book since it's first edition (and taught from most of the others on the market), this is the text which best has met my needs as a teacher. One can only marvel at how well Michael Gillette has carried on where his father's text left off (Arnold Gillette). This is what good texts are about: information, clear, and a solid foundation of how this knowledge will fit into the whole. This is One! ... Read more

Book Description

The ideal theater appreciation text for courses focusing on theater elements, The Theater Experience encourages students to be active theater-goers as they learn about the fundamentals of a production. By addressing the importance of the audience, Wilson brings the art of performance to life for students who may have little experience with the medium. ... Read more

Reviews (2)

a good idea
I am confused...I look at the star ratings and read the reviews...but they don't even come close to my thoughts. This book was an interesting read. They do show a huge variety of techniques that are used for the stage... but they only give you a small taste of the process...Vacuum forming for example, a wonderful process, but zippo info on whereto/howto/whoto contact to buy or to make one. Read this book to get an overview of some ideas...but know that the technology shown is old and 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.

Comprehensive and user friendly!
This is a great book about making masks. It covers the making of molds, including using alginate for a life-casting. He talks about making masks of different materials -- from hex-a-cel to paper mache to neoprene to leather! There's a really *nice* section on leather masks, and he also talks a little bit about the history of the leather masks and how they were used in Renaissance Italy by the Commedia. This book is filled with plenty of black and white photos illustrating the various steps in each mask-making or mold-making process, and the instructions are very clear. Highly recommended for those with an interest in making their own masks. ... Read more

Reviews (9)

Very detailed
I would have loved to had seen the pieces of the garment drawn in their pattern shapes, but otherwise an excellent book with much detail written about each garment. Only other problem was that sometimes the writer's handwriting about the details on the drawings were a bit hard to decifer.

The BEST
Until this book dissapeared from my local library I must have borrowed it for over half its shelf life there, in all of 15 years this book has been THE reference for me, no mean feat to hold my attention since I was 11.
I love it because of the minute detail of the fabric patterns which although hard to find today similar items can be found for those wanting to recreate the dresses.
The value for money is unreproachable, you just have to buy this book. Thank the publishers for reprinting in the U.S and here in U.K !

The best costume books I've ever read to date!
This book remains my favorite costume book, even 10 years after I first checked it out of the library. I find myself coming back to this book time after time, either to study a particular point of fashion or just to browse the fabulous drawings.

Nancy Bradfield has done a great service to all who enjoy studying vintage clothing and their construction. Each item includes 2 to 4 full-page, detailed drawings so the reader can see every detail of the original garment -- inside AND out. Many of them include measurements, so if you're a very talented seamstress/tailor, you can recreate the garments and scale them to fit a modern body.

Some books seem to just throw pictures or drawings together in no particular order, which makes it difficult to fully understand the fashion changes that took place. Nancy Bradfield has arranged the drawings in chronological order, which I find much easier to follow. She also has rather detailed comments along the bottom of each 2-page spread which explains particular details of the item or the fashion changes that were occuring at the time the dress was made. Those comments are in addition to the description found on the top left side of the left page, which is specific to the dress in question.

This is the Bible for any costumer or vintage clothing collector! The only thing that would be better is examining the clothes in person...And unlike seeing the clothes in person, you can keep going back to the drawings again and again.

a great book.
I had checked this book out of my high school library, er. . .almost 20 years ago (can it be)? It was one of those that I'd check out over and over again. Something reminded me of it the other day, and now I'm going to buy it, yeah!
The illustrations and descriptions are excellent.

Don't miss it!
This is the single most outstanding study of period construction detail out there. No one who loves clothes should be without this book. I highly recommend the first edition, which has a few color plates. ... 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

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

Widely referred to as the "bible of stage makeup," the timely revision of this classic text addresses principles and techniques in the use of makeup for the contemporary performer. This extensive exploration of the application and use of stage makeup, and makeup for a variety of performance venues, covers all aspects in detail and contains over 400 photographs, drawings, and diagrams demonstrating step-by-step procedures. Thoroughly updated and revised, this classic text remains accurate and comprehensive, providing information from which all readers - whether students to the field or seasoned, professional makeup artists - will benefit. For anyone involved in the Makeup of theatre, dance or stage productions. ... Read more

Reviews (7)

A Film-Maker's Dream
I am a film-maker out of Ohio. I used to use Tom Savini's Bizarro, Grande Illusions 1, Grande Illusions 2, and Dick Smith's Do-It-Yourself guides....BUT, after meeting Tom Savini and learning that he considers this book his "bible", I checked it out for myself. WOW! This is the book to get for anyone interested in stage make-up or special effects makeup. It IS a little pricey, but for the information and detail, it cannot be beat. I consider this a companion to the ones listed above. Get em all if you can, but make sure you OWN this one!!!!!

Meridith
This is the bible of stage make-up. It has wonderful step-by-step pictures so you see the process. I loved the fact that there was no flowery language to complicate learning. It caters to the beginner and the professional. If you are serious about learning the trade, this is the investment to make. This was a recommended book for me in college and it helped give me an edge over my classmates. If you don't know where to start, or would like to brush up on your technique, this is a great resource.

New, but not improved.
While this book remains a "bible" in its field, my students complain about the price and the lack of color demonstrations. I was hoping the Ninth Edition of this book would have more color photos spread throughout the chapters, but the format has remained very much the same, with many of the same demonstrations and photo descriptions. The new chapters for film and television are a breath of fresh air and I applaud the new techniques aditions.

An outstanding and complete resourse for Theatrical Makeup
For both the amateur and professional, alike, Richard Corson's "Stage Makeup" is an essential resource for both the makeup artist and the performer. In my 35 years of experience in the performance industry, I have found no other single resource that is so well illustrated and written. -Ed Thurber- Marlboro Theatrical Technology

Good makeup techniques
We used this book for my Stage Makeup I and II class. It is very useful for beginners with chapters on different materials from oil based to water based, applying makeup including facial hair and wax features. ... 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

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

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

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

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

Book Description

For actors by an actor of rare subtlety and imagination; for directors by a brilliant versatile director. Richard Boleslavsky's knowledge of the theatre was based on wide experience. A member of the Moscow Art Theatre and director of its First Studio, he worked in Russia, Germany and America as actor, director and teacher. On Broadway, he produced plays and musical comedies and he was a leading Hollywood director. ... Read more

Reviews (14)

Attn True Actors:Please Read This Book
Basic acting ideas and questions are explained very simply in this remarkable book. Although the technique he uses may be odd, (refering to a fictional dialogue between himself and The Creature), it enhances the reading into an art form, not just a textbook or book full of "improv" excercises. If you are a true student of the art, I think you will enjoy this book, if not at least appreciate it's value. Otherwise go back to Uta's Object Excercises!

The best volume to begin your work as an actor
Richard Boleslavsi, a key member of the Moscow Art Theatre and practioner of the Stanislvaskian "system" wrote this, a key volume that serves as the greatest starting point for any serious actor.

Writing his text in the form of a play script, Boleslavski lays out a series of easily definable and highly applicable excersises that aid tremendously towards developing the acting instrument.

Although it is impossible to learn acting from simply reading a book, if used as a complimentary text in a hands on acting class, Boleslavski's book will help one build a solid foundation upon which one can begin legitimate work in the Theatre.

However, on a strongly personally biased note, skip the second chapter, entitled "Memory of Emotion". If done improperly, this second chapter can lead to incredibly self conscious acting posing as psuedo-therepy.

The chapters of Rythym, Concentration, Dramatic Action, Characterization and Observation however prove helpful, practical and definable. Please begin with this tome.

Deceptively Simplistic
At first, I thought this book would just skim the subject. Wrong! It is the nuts & bolts of acting without which you may as well forget it! This book truly is the "bible" of acting.

An Actor's Best Buy
I just finished reading this book as a part of an acting class, and I highly recommend that anyone with an interest in acting check out this book. It's an amazing resource. Boleslavsky shares from his amazing wealth of knowledege of the stage, and it would be foolish not to take advantage of the knowledge provided here.

Within the parenthes
From memory, a long way back; fantistic approach! Fantistically simple that is! Deceptively so! Would that all info., came similarly packaged. Buy it and devour it! And yes, all is 'within the parenthes'. Wish I'd thought of it! ... Read more

Book Description

The Technical Brief is a collection of single-focus articles on technical production solutions, published three times a year by the prestigious Yale School of Drama. The primary objective of the publication is to share creative solutions to technical problems so that fellow theatre technicians can avoid having to reinvent the wheel with each new challenge. The range of topics includes scenery, props, painting, electrics, sound, and costumes. The articles each describe an approach, device, or technique that has been tested on stage or in a shop by students and professionals.

Some articles included: Growing Flowers on Stage; Break-Away Glass; Photo-Murals for the Stage; Quiet Wire-Rope Curtain Track; Free Standing Curved Stairs; A Measured Approach to Kerfing; A Low-Voltage Remote Controller for Special Effects; Toggle-Clamp Locks; Comparing Four Plastics as Scenery Glides; Low Pressure Air Casters; A Simple Lift Jack; Using a Piano to Create a Reverberation Effect; Horn-Hat Mics for Sound Reinforcement

* Ten years of The Technical Brief articles bound in one complete volume

* Great reference of tips and solutions to unique technical challenges in theatre production

* Solutions provided by contributors from over twenty different drama programs ... Read more

Book Description

The Eighth Edition of THE ESSENTIAL THEATRE will help you get your students excited about theatre. The combined authorship of an authoritative theatre historian and his former student, an active theatre historian himself, make this the book perfect for your introductory theatre course. In the 35 years since it was first published, THE ESSENTIAL THEATRE has established a reputation as one of the most comprehensive, authoritative surveys of the theatre in academia. Now in a new full color format with many representations of current and classic performances, this text will encourage your students to become active theatergoers and fans. THE ESSENTIAL THEATRE works in tandem with its companion anthology, PLAYS FOR THEATRE. The scripts in PLAYS serve as a foundation for discussion of the various types of theatrical experience explored in the text. ... Read more

Reviews (1)

What's to review?
If you have a Theater degree from any American college in the last decade, then you already own this book. This is the definitive text on Theater History. Brockett is the authority. No other comprehensive book on "general" theater history comes close. If you want the book that is on every theater historian's shelf, referenced in every Theater thesis or dissertation, and the text for every Theater History course in the nation, then order this. ... Read more

Amazon.com

So much mystery and veneration surrounds the writings of the great Russian teacher and director Stanislavski that perhaps the greatest surprise awaiting a first-time reader of An Actor Prepares is how conversational, commonsensical, and even at times funny this legendary book is. After many productions with the Moscow Arts Company, Stanislavski sought a way to introduce his new style of acting to the world outside of his rehearsal hall. The resulting book is a "mock diary" of an actor describing a series of exercises and rehearsals in which he participates. He details his own emotional and intellectual reactions to each effort, and how his superficial tricks and mannerisms begin to disappear as he increasingly gives over his conscious ego to a faith in the creative power of his subconscious. Rarely has any writer on the theater achieved the sort of lucid and inspired analysis of the acting process as Stanislavski does here, and his introduction of such now-standard concepts as "the unbroken line," "the magic if," and the idea of emotional memory has laid the groundwork for much of the great acting of the 20th century. While much excess and nonsense was to follow in the steps of Stanislavski's writings, his original texts remain invaluable, and surprisingly accessible, to any actor or student of drama. --John Longenbaugh ... Read more

Reviews (21)

An absolute must for actors!
This book covers everything you could ever want to know about acting. If you want to be an actor or actress then all you have to do is read this book, and you're there. This book covers every possible technique you will ever need on the stage! Stanislavski takes on the role as a teacher for his students in this book, but the fact is that he is both the actors and the teacher. He uses the students to ask the questions you are wondering about, and answers them as the teacher. His discriptions are so good that you sometimes wonder if you are really there. The only thing that makes you sure is that he can't give you feedback on your efforts at home. But apart from that it is just like having a very knowledgable teacher of your own, that can answer all the questions you have about acting, and then some. It is an awesome book. A must have for everyone!

the fog lifted from my eyes
The first in a series of three, an Actor Prepares deals with the inner process/preparation an actor must explore in order to prepare for a role, how to control and stimulate your mind in order to convey the truth of your character. The story is told through the eyes of Kostya, the ex-stenographer who know shorthand, thus enabling him to take notes of the class. The instructor, Tortsov, is Stanislavski in disguise.
The book takes you on a journey of the art - acting. From learning about the magic "IF" to learning how to find your super-objective there is something for all in this book. Everything interrelates forming a web of knowledge and tools that you can take with you forever.
When you read it, however, keep in mind what the author said about his books:
"It is not a hand-me-down suit that you can put on and walk off in; or a cook book where all you need to find is the page and there is your recipe. No, it is a whole way of life."

Very Informative
This book really backgrounds & outlines the actor's process. It is a must-have for aspiring artists. Don't let the wordy, overly detailed prose discourage. For the valuable info if provides, it is worth it.

Stanislavski's Blueprint Pulses With Life and Passion
I found "An Actor Prepares" to be a deeply rewarding read, and I found its message applicable to all of the arts. Opening a window to a time and place where great strides were made in the modern theater, we join a fictionalized group of students awaiting their first lesson with the great master "Tortsov" (really Stanislavski.) I simply drank in Constantin Stanislavski's wisdom, enjoyed his consummate readability, and shivered in amazement that he was able to advance the philosophy and praxis of acting to such heights at the time that he wrote - he lived from 1863 to 1938. I'm currently inhaling the second volume in this series: "Building A Character." I fully intend round out my reading with some Strasberg, Meisner etc. after I finish Stanislavski's trilogy, but at this moment I am quite content to be able to gaze back in time to the Moscow Art Company, and imagine that I'm there amid the heady acting sessions of these books. Although trailblazers and pioneers in any art or science rarely leave a perfectly polished jewel as their legacy, it is a great mistake to pass over their immense contributions. Read Stanislavski as the great building block he was in the technique of acting.

A Must Avoid!
Just Kidding.
Every actor should sit through this one and then balance it off by reading David Mamet's 'True and False' or for a better if less vehement critique Hornby's outstanding 'The End of Acting'

Personally, whenever I feel it would have been a happier world if Stanislavski had never been born I realize I've been spending too much time with film actors and so I go out and see bad theater.

( Not out of masochism it's just that if you see enough theater you're bound to run into some turkeys)

Usually the reason it's bad is because of some sin Constantin ranted against.

Ranting is actually an appropiate word to describe the style of his writings. He's not theorizing, he's discovered The Organic Truth Of The Uiverse, etc. All this dogmatizing is forgivable when one realizes it's the oupouring of a Slavic soul, but it does tend to eclipse the fact that his system is--stripped of all the hyperbole--based upon, of all things, logic.

What's the objective? Ok, play that.

Or if you wish amore detailed dissertation: To [...] with what you're feeling. Play the objective.

Otherwise you may weep and rave about but fail to find the brooch pinned to the curtain, like the student actress in this book.

Now does it work? Well, if you have faith in it. . .

The progression (some would say the degeneration) of Stanislavski in the US goes something like this: Charles Conrad (who taught for Meisner and never wrote anything, his is the Zen-style of Stanislavski) to Sandford Meisner (who taught for Strasberg and wrote an unintelligible book but who is much admired for getting method actors off their introspective derrieres and on their feet) Lee Strasberg who, unlike Stella Adler never met The Master himself, so felt free to um.. theorize even further, and Michael Checkhov, (the only great actor of the bunch who Stan considered his best student even though he rejected the system) whose mystical ideas are floating somewhere in the stratosphere.

Strasberg, by far the most influential, founded Method Acting (not to be confused with the Stanislavski System or 'The Method of Physical Action ' a short treatise in Creating a Role ) which emphasized remembered mamory a.k.a. emotional memory which at times superseded the objective by demanding a pavlovian type of identification/ conection which would ensure real tears.

In away he set theater back to before 'finding the brooch'

Later, Stanislavski himelf rejected the emotional memory/pavlovian experiment after many of his actors started freaking out..

The main moral of an Actor Prepares is that if you're going to write a world changing treatise on acting, it helps if you've got a genius playwright like Michael's uncle whose palys you can produce.

The second is to play the--oops said that already.

May I also humbly recommend Mike Green's 'The Art of Coarse Acting' Shurtleff's 'Audition' Keith Johnstone's 'Impro' and Klaus Kinski's bio, for a sense of, if not sanity, at least a healthy dose of skeptical heresy? ... Read more

Reviews (9)

A Must Read For High School Techies!
Stage Rigging Hand Book is a great book for anyone responsible for rigging. It covers very important topics and safety issues. Working in one of the biggest and best high school theatres in the state of Virginia, I can say that this book is a major help on any rigging job and is an indispensable book when safety is concerned (and when is safety not involved?). If you are a TD at any high school with a rigging system you must have this book.

Nothing Better
As an instructor in the Canadian College system, I have found this book best sits within easy reach. I am constantly using it as a teaching tool for my students and myself. I had the priviledge of attending a master class with Jay in 2001 and would recommend it to anyone who has the opportunity. When teamed with Harry Donovan, you will find no better pair to flood your mind with all that is entertainment rigging.

An Amazing Book
Jay O. Glerum has written a book filled with history and practical hard-to-find information every theatre tech should have in his/her library. This book is rich with clear illustrations and photos for just about every rigging situation you will encounter. It has chapters on "Loads and Reactions" "Block and Tackle Rigging" "Hemp Rigging" "Motorized Rigging" and much more. There's a very useful chapter on cutting and knotting rope. I was particularly impressed with the sections on "Special Problems" and "Recordkeeping". As today's threatres move more and more toward mechanized scene changes and motorized light rigs, a solid understanding of rigging techniques is more important than ever. Whether you are a novice or have years of experience ... whether you are an independent or on staff, Jay O. Glerum's "Stage Rigging Handbook" will improve your knowledge and give you a wealth of information. I highly recommend this book.

A Must for any Flyrail!
As an IATSE stage rigger, I have worked with people like Eddie Blue and Aaron Hutsch, and I have yet to work with a flyman or rigger who doesn't use and own this book. Glerum's methodical approach to everything rigged, from sand bags and tension pulleys to loft blocks and chain bags makes the complicated art and physics involved with theatrical flying and baton loading easy to understand, and in-depth enough for the novice or master rigger. A must have for anyone persuing a theatrical or IATSE position.

Great Stuff
Stage Rigging Handbook is an excellent book on a subject that's often ignored or glanced over in tech theater books. It's very hard to find, good, authoritative information on stage rigging, but Glerum is "The" authority. The book is packed with information and photos. It clearly covers the physics involved in rigging, the types of equipment (both old and new), the maintenance, and the do's and don't of the craft. It's not always totally clear, but the wealth of practical, and in many cases, vital information more than makes up for it. If you're a TD or Director that's just inherited a house with a fly loft, you must read this book. It sounds melodramatic, but it's true--lives may depend on it. ... Read more

Book Description

Detailing production design for theater, opera, and ballet, Designing and Drawing for the Theater provides a professional picture and encyclopedic reference of the design process. Lavishly illustrated with detailed lined drawings and photographs, the book conveys the beauty and excitement of production design. To further convey a real-life picture of the design process, each chapter is followed by a conversation with an outstanding designer working in today's theater. ... Read more

Reviews (6)

A great general reference
The text provides names of existing professionals in all the fields of theatre design. It provides many production photos and technical drawings to use as examples. The book also provides something unique: interviews with designers and draftspeople. If you are looking for a general guide to design, this is a great source for visuals. It contains a step by step guide on the design process, but in reality it is a general guide on how to design without messing up royally.

The word "design" doesn't belong in the title
I ordered this book after reading evryone's raving rviews, and expected to get a really great book. I must say, though, that I was disappointed. Depending on what kind of book you are looking for, it can be good or bad. What the book does have is immense collections of details for different objects - dozens of different window frames, for example, or many options for stair railings. What I found missing from this book is theory. The author talks lengthly about all sorts of details such as how long it takes to strike different kinds of sets, or what kinds of specifications a scenic shop needs in order to build a set. All of this stuff is pointless if you haven't yet designed a set. I think that the author should either have talked about different scenic styles, disscussed the use of color and proprtions and talked about the creative process involved in designing a set and being part of a whole production. Since she did not do this, I suggest that in her next edition of the book she remove the word "design" from the title. I also suggest that she arrange the pictures (which are actually great) so that on the page where she writes about a certain kind of scenery, there are pictures of those kinds of sets - especially since she had the right pictures stuck in different parts of the book so it is just a matter of putting them onto the right pages.

One thing that I found exclusive to this book as opposed to other books (aside from the lack of solid content and over-abundance of pointless precticalities) was the extensive interviews with designers such as Ming Cho Lee and John Napier. All though her questions as well kept on missing the point and dealing with irrelevant pracicalities, it is amazing to find such a collection of interveiws. Though you must agree with me that it is very stupid to have a chance to talk to some of the greatest designers of the century and then ask them questions like "So how many inches apart were the backdrops hung when the were flown?" or "What were the exact dimensions of the conveyor belts that you used in 'Annie'?". The questions that I would have liked to hear the answers to are things that you couldn't ask anyone else, such as "So what made you decide to use that particular style?" or "What kind of artists, if any, have effected your designs over the years?".

So this is a great book if you already know what you are doing in theater design and need some workshop techniques and to copy Ms.Pecktal's doorframes and wallpaper patterns.

www.earthcorp.com/ELInet

excelent for the student studing scene design
excelent for the student studing scene design, it goes over all the basics a person will need to know when coming into this feild, like how to book your self, how to arive at a concept and tools, skills and knowlege you will need to have to be a great scene designer.

A must-have designer's reference...
This wonderful book, though pricey, is worth every penny. It's full of hundreds of pictures, great interviews with designers, and lots of reference materials (pages of doors or windows or chairs or whatever else it is that you need). Whenever I'm stuck on a design, I can always find inspiration--or at least hours of distraction--in this book. Especially useful for the begining design student.

A "must-have" book. Expensive but invaluable.
There is simply no other book available today on this subject that can compare. Every library and serious professional needs to own a copy. Put it on the shelf with the priceless (and long out of print) "Stage Design Throughout The World" series. Included are hundreds of illustrations of the work of the best American theatre designers: undeniably the most influential and dynamic designers in world theatre during this period. It illustrates what is likely to be known as the high-water mark of American theatrical design. Anyone who has ever done compelling design work in the theatre is here. Students, professionals and amateurs, indeed, anyone who loves the performing arts, will devour it at one sitting then browse with deepened pleasure over a lifetime. A "must have." Get it before it goes out of print! ...