Book Description

This annotated translation is the first systematic rendering into any Western language of the nine major treatises on the art of the Japanese No theater by Zeami Motokiyo (1363-1443). Zeami, who transformed the No from a country entertainment into a vehicle for profound theatrical and philosophical experience, was a brilliant actor himself, and his treatises touch on every aspect of the theater of his time. ... Read more

Book Description

The Pulitzer Prize-winning playwright, director, and teacher gives us a blunt, irreverent, unsparingly honest guide to acting that overturns conventional truths and tells aspiring actors what they really need to know.

David Mamet leaves no acting tenet untouched: How to judge the role, approach the part, work with the playwright. How to concentrate and think about the scene. How to avoid becoming the Paint-by-Numbers Mechanical Actor, the "How'm I Doing?" Ham Actor, the over-the-top "Hollywood Huff " Actor. The right way to undertake auditions and rehearsals. The proper approach to agents, to individual jobs, and to the business in general. The question of talent.

Mamet is unmistakably clear about why he thinks actors should not be taken in by such highly touted notions as "the arc" of the character or the play, "substitution,""sense-memory,"the Method itself--in fact, by most of what is being taught in acting schools and workshops across the country today.

True and False slaughters some of the profession's most sacred cows. It is bold, witty, and likely to be as controversial as the author himself. ... Read more

Reviews (43)

The best acting book I've read
I started reading this book with a highlighter in hand, just in case anything jumped out at me. At the end of my read, 80% of the book was yellow!

As an actor and director, I have myself felt bound by techniques and seen fellow actors I've directed get trapped by the limitations of "being in the moment" and feeling inadequate about their work.

Mamet, I believe, respects the actor enough to encourage the actor to remove these trappings and focus on their simple task. Not that acting isn't tough work, but we invariably make it much harder than it need be.

Mamet pulls no punches. If you subscribe to the "method", "sense memory", or other schools of acting, this book will offend you as Marilyn Manson might offend a Christian Coalition leader.

There is no middle ground here. You'll either feel liberated as an actor, or want to hurl this book into the closest bonfire.

As for myself, I have a clearer vision of the actor's place in the world, and am performing and directing with more clarity and consistency than ever before.

I owe this to Mr. Mamet.

Some wisdom--a lot of attitude
This is a must read for any serious actor, acting teacher or theatre academic. I suspect much of this book is Mamet intentionally provoking the establishment, but there is much common sense, and a fair amount of traditional actor training included. Anyone who has seen young actors torture themselves (and others) with their understanding of method preparation will enjoy this book. But whether one loves it or hates it, it will spark genuine healthy debate--and that's good. (Oh yes, the playwright is the source of all wisdom concerning his/her play. If the actor remembers that, everything will be fine. Well . . . maybe, Mr. Mamet.)

Disappointing - not very useful
Much of this book is taken up with Mamet raving against the Stanislavski Method, of which he demonstrates a stunning ignorance. For example, he claims that the Method is not practical because you cannot "force" your emotions (those who, unlike Mamet, have actually READ any of Stanislavski's books will recognize that Stanislavski said this exact thing) and you cannot force yourself to believe things (I would suggest that Mamet read Stanislavski's sections on the "magic if," and he would find that Stanislavski also teaches this). When he quits ranting against the Stanislavski Method and what he thinks actors need to stop doing and gets down to what he thinks actors SHOULD do, many of his principals are (or, at least, should be) either painfully obvious (such as, our job as actors is to entertain the audience) or of little use to the professional actor. Unlike Stanislavski (whose approach was "these are the principals of what must happen "internally," this is how it looks externally, this is how it looks when you're creating a character for the stage), Mamet does not consider it important to spend much time explaining how his principals work or how they are to be applied on stage.

I will give Mamet credit for a few things, though. His writing is concise and to the point, and touches on a few of the basic principals of acting. He also points out some of the mistakes that some actors make. The one thing that this book does a very good job with is reminding us of the basic job of the actor, which actors tend to get away from sometimes, such as the fact that the audience is paying good money to see us perform and our first obligation is to them. He makes a few other interesting points (e.g., we learn to act on stage, not in the classroom).

Do not read this book instead of other acting books, but rather in addition to it. The book is pretty short and the writing concise - you should be able to get through it fairly quickly. This might be good to read along with Stanislavski or books on the Method, but do not read it as a the first or only acting book you read, or read it instead of others. I'm not sure that it is necessarily worth buying vs., for example, getting it from the public library - it's possibly worth reading once, prefrably after you've already been studying and acting for awhile, but probably not more than that.

A very dangerous, ignorant approach.
This book is the voice of a scared actor. This is the voice of a stubborn playwright.

Anyone who loves the magic of the theatre knows that a production is composed of two elements: the actor and the play-- not the playwright and his play. It is the actors job to create truth within himself with the part he is given. Plays written by authors like Shaw and Shaffer are crippling to actors, because they write in the lines all that is felt. This is not reality. This is not art. Acting (now, after reading this book, I feel the need to use the words "Method Acting") is the only art that uses real emotions and the human body as it's medium. This book is suggesting that actors need only be an extention of the literature, which my friends, is insane. Stanislavsky knew there was something wrong in the theatre, and composed a path for actors to follow in order to reach that "awareness". Strasburg found it. Chekov found it. Hagen found it. Meisner couldn't think abstractly, so he made revisions, but still believed strongly in the honest actor.

This book is a good example on what NOT TO BELIEVE.

Trying to say that this is a better method of acting is like trying to say that Humphrey Bogart was more believable than Marlon Brando.

If this book is taken seriously by too many, the entire world of our our theatre could be ruined.

Is it true or false?
I was first disappointed when I read this book (it is so high rated in amazon.de and amazon.com). I read Shurtleff, Johnstone, Strasberg and other stuff. There are a lot of phrases to provocate the reader - maybe this was the intention of the author. The reading of this book left a few questions in me. To learn more about this kind of acting, I would recommend the book "A Practical Handbook for the Actor". If you are not a professional actor and do not have some experiences in acting, than this book won't be very useful and interesting for you. ... Read more

Book Description

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

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

Reviews (3)

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

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

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

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

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

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

Book Description

Performance Success teaches a set of skills so that a musician can be ready to go out and sing or play at his or her highest level, working with energies that might otherwise be wasted in unproductive ways. This is a book of skills and exercises, prepared by a master teacher. ... Read more

Reviews (1)

Who owns the truth
Miller's version of Ibsen's famous play sets it in language and circumstances that one can connect with better than the original - which was full of allusions to things and times which are arcane - but the original's power still remains and is enhanced by Miller. The theme comes up in the newspaper every month - a community threatened by pollution, a media crusading against power - until the power threatens to pull the plug on the media - "science" being portrayed as both the question and the answer - and friends, family and enemies in couplings and cabals to work against each other "for the common good". Read it with friends and see what it does to friendships. ... Read more

Book Description

Dennis Kennedy's comprehensive account of the main scenographic movements of the century investigates how visual elements affect Shakespeare on the stage. This second edition ranges through productions in Britain, Europe, Japan and North America and includes a new chapter on Shakespeare performance in the 1990s. There are more than twenty new illustrations, some of them in color, and previous references have been updated. ... Read more

Reviews (1)

A vivid and resounding study
I stayed up all night reading Kennedy's smooth prose, which echoes like a clean white room. I was recommended this book by a professor who thought it would complement my graduate seminar on performance. That it does,indeed--and what's more, I strongly believe this work should be madatoryfor every undergrad Shakespeare course. It is breaks through the notions ofShakespeare on the stage as a merely western, standardized phenomenon,shaking up the image of the auld bard in a delightful manner. The imagesare especially astounding; I only wish I could have seen some of the wildinternational productions that Kennedy discusses here! ... Read more

Book Description

In 1971, college student Ted Chapin found himself front row center as a production assistant at the creation of one of the greatest Broadway musicals, Follies. Needing college credit to graduate on time, he kept a journal of everything he saw and heard and thus was able to document in unprecedented detail how a musical is actually created. Now, more than thirty years later, he has fashioned an extraordinary chronicle. Follies was created by Stephen Sondheim, Hal Prince, Michael Bennett, and James Goldman - giants in the evolution of the Broadway musical and geniuses at the top of their game. Everything Was Possible takes the reader on a roller-coaster ride, from the uncertainties of casting to drama-filled rehearsals, from the care and feeding of one-time movie and television stars to the pressures of a Boston tryout to the exhilaration of opening night on Broadway. Foreword by long-time NY critic Frank Rich. ... Read more

Reviews (18)

The next best thing to attending a Broadway musical
Recommended for fans of the musical is one of the best books you'll see on how major Broadway production was created: Ted Chapin's Everything Was Possible: The Birth Of The Musical Follies. Chapin's insider's account tells a bewitching story of the musical's evolution, from its initial casting to rehearsals, growth, and the fostering of stars. All the roots of a major Broadway production are clarified and given lively analysis, with plenty of first-person insights and observations throughout. The next best thing to attending a Broadway musical in production!

Delightful Memoir and Great Resource
Not to be greedy, but I wish Ted Chapin had been there at the creation of every important musical.His memoir of having been there at the birth of "Follies" is rich and delightful.Every person who finds themselves being glib at the expense of a new work in the theatre ought to read this book, because Chapin illuminates the perilous path of collaborative art -- the expense financially, physically, emotionally.In the words of Tommy Tune, "Contrary to popular opinion, the theatre is not for sissies."I loved hearing about the extraordinary amount of work that everyone did -- how many fears they had to face, how much was on the line for them.I'm so glad I read this book, and so grateful it exists.It is a wonderful resource for theatre students and young professionals.And it is simply a terrific read for anyone in love with theatre and what makes artists tick.

The Sun Comes UP....
I loved this book.I must say that I don't read a whole lot but this book was great especially from a musical actor's point of view."Follies" has always been one of my favorite musicals and Ted Chapin captured a rare moment in history that I wish I was old enough to have witnessed.Luckily, this book gives thoughtful descriptions of what was going on in NY and Boston during the rehersal process.Being a fan of the musical I would often go back to listen to the various songs as they were introduced in the book.I wish the book hadn't ended because I was having such a great time reading it. Hat's Off!

Ted and Yvonne?
The book is good, but it is the book of two men, a young and an old, who are not the best of collaborators.I think the young man to whom most of the adventures happen would have been more gossipy and excited about things were he not held in place by the distinguished older gentleman Ted Chapin of the Rodgers and Hammerstein Organization.For example, if you read between the lines, it seems pretty clear that the young Ted was pretty much crushed out on the glamorous Hollywood hasbeen Yvonne de Carlo, who came to New York City in full glamor mode and took Ted out on a series of dates to the Stork Club et al, and that when she left his life she left a big hole in it.But the older Ted sees ruefully that if it was a romance at all, it was pretty one-sided and potentially embarrassing.So the issue is tabled.I loved hearing all about how Sondheim created the score as the show was in tryouts; when it began only perhaps twenty minutes worth of music was finished, and the rest was created under intense pressure on the road in hotel rooms and coffee shops.I liked hearing about Mathilde Pincus, the music copyist, and the book gave me a new word I had never heard before."She [Pincus] used a flat pen with black ink and wrote on 11" by 14" sheets of opaque paper called deschon, which had the musical staff lines printed in reverse on one side.Writing with ink on the other side allowed for errors to be erased without affecting the staff lines."I guess I had seen 'deschon" but never knew what it was, just like I went to see "Follies" with De Carlo, Smith, Collins, several times, and never really knew how it came to be created.Thank God for Ted Chapin, the young one and the middle-aged man as well.

Fascinating view of a pretty amazing show
Ted Chapin was pretty much there at the birth of the wonderful musical that is Follies. For anyone who loves Follies, this is an excellent book full of little bits of information that you never knew you would one day know. A broad knowledge of the show is very helpful.

The book has two major strengths. Firstly, the deep knowledge alluded to above, and secondly, it brings to life all the wonderful characters connected with that first production, both onstage and offstage.

Where this book lets itself down is that Ted Chapin has misunderstood the book's appeal. This book is only going to appeal to people who know and love Follies or theatre in general, and I guess those people do not need to have theatrical terms and situations explained to them. At times, these quite lengthy basic explanations detract from the flow of the book.

That said, if you are one of those people who know and love Follies, then do not hesitate to read this book, and just bear with the criticism mentioned above. ... Read more

Book Description

6 working actors describe their methods and philosophies of the theater. All have worked with playwright David Mamet at the Goodman Theater in Chicago. ... Read more

Reviews (9)

Pick Up and Read!
Hi!

Right now I am reading books about the craft of acting. I am learning on my spare time at home about acting in general. This book it's a great tool for beginner or mature actors. I find this little book practical, honest and helpful. So pick up and read this book. You will be glad you did!

Simple and effective!
This is simple straightforward book - I read it in less than two hours. It also details a tried-and-true acting technique. Most of the concepts discussed in this book were not new ones to me, but I've never seen them as concisely and well-expressed as here.

But as the book warns, don't close your mind to other techniques. There is merit in other schools of acting, though they are not always obvious at first sight. And above all, to become a good actor, you need to commit yourself and put in the effort. You're not going to become a Meyrl Streep overnight.

For the teacher and the student alike
I've been an acting student in several settings (high school, university, amateur) and a theater teacher/director in a private high school.

I had the privilege of studying under one of the contributors of this book, Scott Zigler - and have used this book long after my university days were over.

This short, concise, easy-to-implement acting guide transformed acting from an awkward, synthetic emotional experience into a tangibly real, physical action. I HIGHLY recommend this text for anyone involved in theater performance, direction, or production. Bravo, Melissa Bruder and others!

Horrible Book, Impossible to Follow
This book is not only boring, and poorly written, it's near impossible to follow. I would never recommend this book.

This Book Saved my Life
I was recently enrolled in a second year acting class at a midwestern university with a decent theater department. The teacher was a no-nonsense Meisnerian with many years of acting and teaching experience, but I just couldn't get the method. I read many books, including those by Moni Yakim and Michael Chekhov. None of them helped. I was angry, frustrated, and despairing.

On the night before I was to act in the first presentation of my final scene, I picked up my old copy of A Practical Handbook for the Actor. Suddenly everything I had been taught in class made sense. The book brought into relief all the effective aspects of the Meisner approach while trimming the nonsense. I stayed up till 2 a.m. analyzing my scene according to the guidelines in the book.

The next day, December 7, 2000, I performed my first real piece of acting. I was powerful, alive, and in some small degree even knew what I was doing. I scared myself I was so good. Following the book's directions, I dispensed with "emotional preparation" and just silently told myself before the scene started what I would do. Emotional prep never worked for me, but by telling myself what I would do I was nearly quaking with rage. During the scene I was free to perform without worrying about whether I was getting it right. I didn't try to be emotional, yet the feelings poured out, just as the book said it would. Hallelujah!

A Practical Manual is one of very few books on acting that is worth reading. (Acting One by Cohen is another.) It packs more wisdom and common sense than books many times its length. I've read it twice and will probably read it again. (I find myself extrapolating its ideas into playwriting as well.) Furthermore, if I were to study acting formally, the only school I would consider is the one formed by the Manual's authors: the Atlantic Theater Company in New York City.

As David Mamet writes in the introduction, most acting teachers are frauds. Even the ones who know what they're doing--like my teacher--may not be skilled enough to help you grasp the fundamentals, and you may have to do outside research. A Practical Manual for the Actor may be just the guide you need to save your life. It did mine. ... 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

Amazon.com

It's the season of battling Bogarts: two biographies, each worthwhile for different reasons. If you want a leisurely, formidably well-documented account of Humphrey Bogart's legendary screen career and four marriages (including a happy final one to Lauren Bacall), this is it. A. M. Sperber conducted some 200 interviews with people who knew the actor before his death in 1994; Eric Lax draws on her seven years of research to create a nuanced, in-depth, elegantly written portrait of the man recently dubbed Hollywood's greatest star by Premiere magazine. ... Read more

Reviews (9)

EXCELLENT - TOOK YEARS OF WORK BY TWO PEOPLE.
No question, by the time you finish this book, you are whirling with knowledge of Humphrey Bogart, whom no one can ever really know because he was so complex with a mixture of his shadow and light side that it seems he was the most confused of all about himself. One thing is certain: He had a great, great talent, and his films are as much loved today as when he was in his prime.

Several things are left out of the book, and I wonder why. One is the fact that Mr. Lax states that Bogart's sister was a great financial responsibility for him as she was in a private sanitarium for mental illness. In 1955 Frances Bogart Rose was a patient in the Metropolitan State Hospital (for the mentally ill) at Norwalk, California. She was allowed occasional visits to the Bogart home, but her return was always a concern because of the heavy drinking at Bogart's home and its effects on her. Perhaps it was at an earlier time that she was in a private sanitarium, but Mr. Lax gives the reader the impression it was for life. Since Bogart, who died in 1957, left her no bequest in his will (in spite of leaving small bequests to the household cook and his secretary), one can assume he knew she in some way would be cared for during her lifetime

Another issue not covered is Bogart's involvement with women during his mariage to Bacall, which even Bacall speaks of in her autobiography, stating she did not find out about some of the women until after Bogart's death (perhaps the best documented claim is about the young lady who cut his children's hair, a total opposite from Ms. Bacall). Yet the author points out Ms. Bacall's attractions (and in the case of Adlai Stevenson, she obviously had fallen in love). As Bacall states in her book, she did not have an actual affair because she knew that Bogart would leave her if she did. This is not to say they did not love each other deeply. Perhaps if she had not rejected another great love of his life, his yaught and sailing, and snooted the crew, preferring instead to attend Hollywood parties, the time and experiences they could have shared there would have resulted in a more close-knit bond. On the other hand, she was only twenty when she married him, and the fact that she lived with such a complex and difficult man until his death says something for her.

This book packs you with a wallop because it is so well written, very well researched and documented, the photos are great. Remember, he was an extremely heavy drinker and all his activities were lived under a cloud of alcohol or the affects of alcohol, even his greatest preformances. A gentleman and a boor. crude and erudite. kind and cruel. But talented, talented, talented!

Great Book About The Greatest Actor
If you go by the poll by the American Film Institute[...],Humphrey Bogart was the greatest actor EVER, numero uno. Iwholeheartedly agree, having seen just about all of his movies overthe years. I used to catch some of them on the Late Show(or even Late Late Show)while babysitting back in high school days, then over the years I've started collecting his films. Bogie was a very complex, highly intelligent man-considering he hated school, he was one smart, tough cookie(sorry-couldn't resist). Expertly researched and detailed, the book is chock full of photos & filmography info at the end. Of the Bogart biographies out there, this one stands out from all the rest. Highly recommended.

Could not put the book down.Took it on vacation!
I enjoyed Bogart a great deal.One correction how ever,on page 153 you have Elisha Cook Jr.playing the punk Wilmer in The Maltese Falcon.Actually I beleive the part was played by Louis Jean Heydt.Heydt died just a few years ago at age 91 in a nursing home.He also played Harry Jones with Bogie in The Big Sleep.Sincerly,Thor Evensen

A must for Bogart fans
I haven't read the entire yet book, but believe me; this book is a winner. Get it! Let me recommend 'take it&like it' by Jonathan Coe as well. Not as detailed, but very charming and full of good pictures!

Did I Read The Right Book?
This book started out great, but once the story evolved into the House Committee on Un-American Activities hearings in Washington,DC it became too too detailed. Did they really need to write so many chapters about it? I don't deny it was a very important issue during that time, but the information was a bit excessive. It took me at least 3 weeks to finally finish this book and other than that chapter, it really is a good story about one of the best actors Hollywood ever produced. ... Read more

Book Description

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

Reviews (1)

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

Book Description

The History and Theory of Rhetoric offers an accessible discussion of the history of rhetorical studies in the Western tradition, from ancient Greece to contemporary American and European theorists. By tracing the historical progression of rhetoric from the Greek Sophists of the fifth century B.C. to contemporary studies - such as the rhetoric of science and feminist rhetoric - this book teaches what rhetoric is and what unites differing rhetorical theories throughout history.The History and Theory of Rhetoric uses concise contemporary examples throughout and emphasizes the relevance of rhetoric to today's readers. For anyone interested in Rhetorical Theory. ... Read more

Reviews (1)

Comprehensive Introduction
Logically enough Professor Herrick begins with an overview of his subject. He concludes with some of the better known modern rhetoricians. In between these two chapters he traces the history of the field and the various contributors. Timelines in the chapters enable the reader to see where the content of that particular section fits in the overall scheme. Sources are clearly identified throughout the book. Sidebars are another asset found in each section.

The glossary in the back of the book is a ready reference for students seeking to quickly understand a term. Herrick seeks to combine modern example with ancient methodology in some places. Generally speaking this book introduces the subject well. It is clear and comprehensive. I have used with favorable results as a textbook when I was teaching in Massachusetts. ... 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! ... Read more

Reviews (4)

A Feast for Lovers of Great Acting
At last an insightful appreciation of the art of acting by one of the profession's foremost practitioners and teachers, which can be enjoyed not only by actors but by lovers of great acting.If you've ever marvelled at a performance, Larry Moss tells you why.With wit and clarity, as good a writer as he is an actor, he takes you inside the actor's mind so you understand the choices that enter into the shaping of a memorable characterization.And his range of references is remarkably eclectic and star-studded -- Groucho Marx, Bette Davis, Dustin Hoffman, Clint Eastwood, Uta Hagen, Robert Preston just to mention a few of the hundreds of performers whose work he illuminates, on stage, screen, television, in musicals, tragedies, slapstick and sitcoms.Nothing escapes his discerning eye.

A great tool for playwrights, too
As is obvious from the testimonials given by well-known actors -- on this Amazon screen (above), and on the back cover and introductory pages of the book -- Larry Moss has no shortage of fans.However, I think it's important to note that this book has value for anyone working in theater and film, not just actors.

As a playwright, I think it's critical that we writers seek to understand how actors and other professionals do their work.Theater (and film) is a collaborative medium, requiring the talents of many people in order to fully realize the potential of a story.By gaining a better knowledge of how directors, designers, actors and others use their skills to bring a play or film to life (on the "back end," if you will), I can write pieces (on the "front end") that interest, inspire and challenge them -- and, as a result, have a stronger effect on audiences.There's nothing worse for a writer than writing something, in isolation, that we think is the greatest thing since tuna casserole, only to have it completely incomprehensible -- or worse, uninteresting -- to actors, directors and, as a result, audiences.

In this search for information, Moss's book is one of the few that I've discovered that offers insights into the actor's process in clear, reasonable language, that makes the necessary connections between the actor's work and the writer's text.I have no doubt, after reading this book, that I will be that much more effective as a playwright, better able to create a solid foundation for those who choose to bring my work to life.

A True Visionary
Larry Moss has a unique gift to help actors enlarge the vision of their craft and the purpose of their professional development. Larry is on a mission to help cleanse the toxic emotions and personal wounds that incapacitate and keep actors from developing their true potential. This is a book every actor should keep by their bedside and slowly mediate on key passages that speak a freeing message to them. This book is also for those who love great theatre and film acting. It will help them appreciate the enormous sacrifices actors make to honor the writer and create moving art that enables us to see the depths of the wonder, the beauty, and the dark fragility that mark our human condition.

A MASTERPIECE!!
The Intent to live is an illuminating book on the craft of acting. Mr. Moss gift for writting down his approach to acting is nothing less than inspiring. He has put down on paper what many others have tried, but failed in some respect. Larry Moss expresses his thoughts on the craft of acting with simplicity,clarity,humor,truth,humanity,and passion. I highlly recommend this book to anyone who is interested in this most humane craft, and art.
I believe this book is one of the most insightful,and inspiring books on acting ever written.
Thank you Larry Moss. ... Read more

Book Description

Television's sauciest and sexiest program is nothing less than a national phenomenon. Now, after four wildly successful and critically acclaimed seasons, the show's winning formula of sex, glamour, humor, and candor is available in a one-of-a-kind, elegant, and uniquely entertaining hardcover book.

Sex and The City: Kiss and Tell is the ultimate fan bible, offering a comprehensive behind the scenes guide to NYC and its most fabulous foursome -- the friends and boyfriends, the bar rooms and bedrooms, the infatuations and fashions. Packed with information and photos not available anywhere else, it will fascinate and delight its readers with wholly original material from the show's stars, producers, writers, costume designers, and more.

It includes all-access passes to the sets, production offices, and wardrobe closets at the Silvercup studios; an insider's tour of the sets;and a detailed map of the bistros and boutiques where Carrie and friends sip, shop, and seduce. Each of the show's major players are interviewed, offering revealing, intimate biographies and sharing the true life stories that inspire every episode. An elegant, beautiful edition with an exclusive introduction from Sarah Jessica Parker herself, this book is every bit as intoxicating as the pink Cosmopolitans sipped by Carrie and friends at Manhattan's chichest hot spots. ... Read more

Reviews (21)

WOW!
This book is a real gem! It's packed with tons of photographs and inside information about the series. There are interviews with all of the cast that are interspersed throughout the book. There are wonderful photographs of the fashions, the locations, and of the cast. HBO and the cast thoroughly endorsed this book and it shows. Every episode of the past four seasons is discussed and all the tidbits of information are there. What a delight for the fan of this show. And the beautiful pink cover of the book is just to die for. This book is lots of fun that you'll be pouring over for hours and hours.

What Sex and The City fan WOULDN'T find this book fab?
My roommate brought this book home and although I myself had been skeptical to purchase it, I'm glad she did because it's so fabulous, I'm thinking about getting one for my own collection.

First of all, if you're a big fan of this hit HBO series, then you'll absolutely love this book. Each of the 4 female characters on the show are spoken about in detail by their counterparts (Sarah Jessica Parker, Kim Cattrall, Cynthia Nixon, and Kristin Davis). In addition to that, the actresses themselves have their own little bio as well as how they became involved in the show in the beginning.

In addition to the girls themselves, there's detailed pages on each characters' style (from wardrobe to home furnishings to the men they choose).

So as not to leave any SATC fanatic unfulfilled, they've even got sections devoted to the SATC men (Mr. Big, Aidan, Steve, Trey, etc.) and the actors bios that play them on the series.

Overall, the book is filled with brilliant, four-color photographs and designed with style (that reflects the show itself, nonetheless). A great stocking-stuffer for girlfriends (especially if they're an avid watcher).

What was this?
This book could be the absolute worst piece of garbage I have ever seen in my life. I was so angry after reading this, that I flipped my car into a river. Well, actually that had nothing to do with the book, I was just drunk. But still, this book makes The Rock's biography look like War & peace.

Almost Perfect!
Would've been perfect had there been more photos and info of the entire 6th season. Lots of behind the scenes info that will appeal to the SATC fan. I know I'm being greedy but I wouldn't mind if they add more photos if they will revise it again. Also, more info from the vantage point of the other stars please.

Must Have Book! I'd give it 100 stars if I could!
Great book, low price! Cheaper on here then at the bookstore (...) I just had to have it when I saw it at the store! Here's what it includes:-Full episode recaps and summaries! Seasons 1-6 (Part1)-Many colorful pics and behind the scenes info!-Pics of all the men the girls have slept with and (not slept with!) -Lots of commentaries!-Quiz at the end (for true fans!)-And much much more!Must Have for any Sex and the City fan! Very good reference guide to look for those special episodes that are hard to find (since the series is 94 episodes long) ... Read more

Book Description

For any one who has ever dreamed of making it big on stageÉ on TVÉ in the moviesÉ a clear, straightforward, uncluttered approach to beginning acting. This important work includes thorough coverage of the different philosophies of acting and how they can be used to the best advantage, how to prepare a role and analyze a character, how to move on stage, what to expect at an audition, how to avoid or overcome stage fright, and much more. Over fifty scenes and monologues add depth of meaning to the concepts covered and provide you with meaningful practice opportunities. The specific challenges of TV and radio acting are also covered in two chapters. Throughout this wonderful book are quotes, anecdotes, and personal reflections from dozens of actresses and actors to accentuate the activities and lessons. This new edition also includes more improvisation exercises and more scenes and monologues. Beginning-level actors. A Longwood Professional Book. ... Read more

Book Description

When movies replaced theatre as popular entertainment in the years 1910–20, the world of live drama was wide open for reform. American advocates and practitioners founded theatres in a spirit of anticommercialism, seeking to develop an American audience for serious theatre, mounting plays in what would today be called "alternative spaces," and uniting for the cause an eclectic group of professors, social workers, members of women’s clubs, bohemians, artists, students, and immigrants. This rebellion, called the Little Theatre Movement, also prompted and promoted the college theatre major, the inclusion of theatre pedagogy in K–12 education, prototypes for the nonprofit model, and the notion that theatre is a valuable form of self-expression. Composing Ourselves: The Little Theatre Movement and the American Audience argues that the movement was a national phenomenon, not just the result of aspirants copying the efforts of the much-storied Provincetown Players, Washington Square Players, Neighborhood Playhouse, and Chicago Little Theatre. Going beyond the familiar histories of the best-known groups, Dorothy Chansky traces the origins of both the ideas and the infrastructures for serious theatre that are ordinary parts of the American cultural landscape today; she also investigates the gender discrimination, racism, and class insensitivity that were embedded in reformers’ ideas of the "universal" and that still trouble the rhetoric of regional, educational, and community theatre.

An important piece of revisionist history, Composing Ourselves shows how theatre reform, in keeping with other Progressive Era activism, took on corporate, conservative society, but did so in ways that were sometimes contradictory. For example, women constituted the majority of ticket buyers and the bulk of unsung labor, yet plays by women were considered inferior. Most reformers were comfortably middle class and sought change that would eliminate the anomie of modernity but not challenge their privileged positions. Chansky deliberates on antifeminist images of women theatergoers in literature and cartoons and considers the achievements and failures of the Drama League of America, a network of women’s clubs, following up with a case study of the playwright Alice Gerstenberg to point out that theatre history has not fully realized the role of women in the Little Theatre Movement. Even as women were earning the majority of degrees in newly minted theatre programs, their paths were barred to most professional work except teaching. Chansky also considers a blackface production of a play about rural African Americans, which was a step towards sympathetic portrayals of minority characters yet still a reinforcement of white upper- and middle-class perspectives. The volume is complemented by fifteen illustrations. ... Read more

Book Description

2004 TonyAward winner for Best Musical, Best Original Score and Best Book of a Musical! Playbill.com describes Avenue Q, a decidedly adult puppet/human show, as a meeting of Sesame Street and South Park. Our deluxe songbook features all 20 songs in standard piano/vocal format (melody in the piano part), more than 20 fabulous full-color photos from the production, and a bio of the writing team of Robert Lopez and Jeff Marx, who've scored big with their first Broadway show! Tunes include: The Avenue Q Theme * Fantasies Come True * I Wish I Could Go Back to College * I'm Not Wearing Underwear Today * If You Were Gay * The Internet Is for Porn * It Sucks to Be Me * Mix Tape * The Money Song * Purpose * There Is Life Outside Your Apartment * What Do You Do with a B.A. in English * and more. PARENTAL ADVISORY: EXPLICIT LYRICS ... Read more