Book Description

Focusing on materials andmethods for teaching drama, rather than on theoryor history, this text offers a collection ofpractical, progressive techniques for usinginformal drama in elementary classrooms.KEYTOPICS: It covers role drama that introduceskey features of the British approach to dramateaching; literature for narrative pantomime;pantomime activities and stories; verbal activitiesand improvisation; planning drama lessons; andmore. For creative dramainstructors. ... Read more

Amazon.com

Painting With Light was the first book on cinematography written by a major Hollywood cameraman. Published in 1949 and now put back into print, it is one of the best and most unusual books in the field. Written with good humor and full of helpful diagrams and photographs, it is certainly the most entertaining. Its technological discussions are dated, but Painting With Light remains relevant because its primary focus is on light itself and the many complex ways the camera crew can manipulate it. This new edition contains a biographical introduction by Todd McCarthy, who describes how the man who shot the strikingly colorful ballet sequence in An American in Paris also helped define the stark, haunting style of the film noir. ... Read more

Reviews (7)

Excellent Book for Professionals
I really had to laugh when I read the review of one film school student who was looking for books on lighting that explained how to do lighting "fast, cheap, and beautiful." In that statement lies the failure of todays film schools, and the genius of "Painting with Light".

In filmmaking we are faced with the same Paradigm that faces all industries. The pyramid = Fast, Good, and Cheap. Each of these occupies its own corner of a standard triangle. But here in lies the rub, you can only choose two: good and fast, fast and cheap, cheap and good, etc.

"Painting with Light" comes from an era were most of Hollywood understood this paradigm. Most people in Hollywood, particularly those in "Key" positions knew that good, if not great, lighting took time, and often time took money.

It's an excellent book for those that wish to know more about the general technical requirements of film. Along with "The 5 C's of Cinematography". I would also reccomend, if not require, this book for any aspiring indie filmmaker. Want to make a movie that competes with the majors? Learn what the majors know, and forget what they taught you in film school.

THE BASES FOR THE BASICS IN CINEMA/VIDEOTOGRAPHY TECHNIQUE
FILM AND TV NEED TO RETURN TO THE FUNDAMENTAL BASICS IN LIGHTING, IF FOR NO ORTHER REASON THAN TO KNOW HOW TO DEPART CREATIVELY. THE CURRENT TREND IS MORE LIKE AMATURE HOME VIDEO TREATMENT BUT ON A HUGE EXPENDATURE. THERE IS NOTHING OUT OF DATE FOR TRUE ART! GOOD TASTE IS SORELY LACKING. Cordially, A Michigan Filmaker.

A Must for Cinephiles but not for future Professionals
As a student of film-making, I was somewhat dissapointed by this text. Although it is a wonderful resource for classic film-making technique, it is painfully out of date. I am searching for a book on cinematography which emphasizes creative approaches to lighting, and, what I call "guerilla lighting technique". In other words, fast, cheap, and beautiful. Not everyone has a access to a Hollywood budget and studio shooting conditions. THere is more to lighting than just key, fill, and backlight. Perhaps a book on Troubleshooting?

Probably the best book on lighting
This book is an excellent source of information on lighting, from the basics to refining the most professional scenes.

This book is a time capsule from the era of Film Noir
I have had a photocopy of a photocopy of this book for about seven years, so I was understandably extatic to learn of the recent reissuing of this long out of print and much sought-after title. For decades, critics have discussed Film Noir as the apex of American film in terms of style as well as content. And Academy Award winner John Alton has long been hailed as perhaps the most important cinematographer of his era. Such was his passion for the art and craft of cinematography that he wrote a book on the subject at a time when such books just were not being written. Painting With Light has great verve and wit, and serves as a very practical how-to exploration of cinema- tography as it existed at the time. But, as such, it is now also a fascinating slice of movie history. In the end, however, I believe it is most valuable as a tool to help the modern cinema- tographer rediscover the texture and mystery brought to the screen in an era when films pulled you in instead of trying to leap out at you. The book co ... Read more

Book Description

This best-seller's practical approach to building speaking skills emphasizes speaker responsibility, critical thinking and listening, and cultural awareness.In an easy-to-use way this book covers everything you need to know to speak successfully in public. anyone interested in improving their public speaking skills. ... Read more

Book Description

From Rugrats to Big Macs, voice-over careers are the best kept and highest paying secrets in the world.Most voice-over sessions last only ten minutes to an hour.Teri Apple's book helps the actor, radio DJ, vocal impressionist and amateur cartoon voice succeed in voice-overs, no matter where you live. ... Read more

Reviews (11)

This is the most helpful voice-over tool I've found yet!
I'm a personal manager with about 22 clients. They all ask me if I know how they can get started doing voice-overs so they can make money between acting jobs. Since I'm not involved in the commercial business, I tell them that the very first thing they should do is get a copy of Terri Apple's book, "Making Money in Voice-Overs" and read it cover to cover! That answers all of their questions. I've learned a lot from it myself and can now guide my clients a little better. However, I think it's "THE" book to read on the subject. I've yet to come upon another that's so informative, helpful and entertaining. It's a resource book that's a fun read. How often do you find that?

This is a terrible book!
I doubt that Terri Apple even edited her book one-time through. There are a number of grammatical mistakes and spelling errors, making the meaning of several sentences nearly incomprehensible. Had she or an editor read this book, they would have caught many of the obvious mistakes ahead of time. The chapters were not very well laid-out and extremely inconsistent. The book's content was not organized well. Much of the information in each chapter did not coincide with the chapter title and she would skip ideas from one paragraph to the next. Also, she repeated much of the same information in several different chapters under different sections. Perhaps she wrote the book in between her many voiceover auditions. The information in this book is outdated since the industry has changed so dramatically since its publication. Terri Apple has proved that pretty voices should only be used when they have something to say. And that a pretty voice can be an ugly read.

Not exactly what I expected
Personally I expected more helpful hints and techniques for improving your skills in voice-overs but instead most of the book is concentrated on advising how to promote your talent. So if you want to know how to be a voice-talent this is propably not the best book for you, but if you feel you already have what it takes to be a voice-over artist, it gives you advise what to do to get yourself into business.

Good Advice in Less-Than-Perfect Form
The massive amount of helpful information in this book is marred by only two things:

o It desperately needs some copy editing to remove the sentence fragments and other "word-processing glitches," and

o The discussions of technology need to be reviewed by someone with a firmer grasp of how such things actually work.

Because of this, I would give it 4-1/2 stars instead of 5 if that rating were available.

In the big picture, however, these are minor quibbles with a book that otherwise covers a lot of ground and answers a lot of questions that aspiring voice actors would have. It provides an in-depth look at the voice-over business (with particular focus on Los Angeles) from the perspective of a busy, in-demand performer who has paid enough dues to know what she's talking about, and because it is fairly new it covers recent developments that older books omit. Certainly well worth the modest investment for anyone wanting to know more about this business.

Where was the editor?
The book contains good information, but it is so poorly written and edited that it is, at times, incoherent. I could not get past the first thirty pages. ... Read more

Book Description

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

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

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

Reviews (5)

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

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

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

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

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

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

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

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

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

This theme is carried throughout the remainder of the text.

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

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

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

An excellent book and much-needed in the field.

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

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

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

Book Description

A lively look at the ways in which American women in the 1920s transformed their lives through performance and fashion. ... Read more

Reviews (1)

An interesting look at life for women in the 1920s.
The author's basic premise is that in the 1920s, women used display to resist, while at times seeming to conform to, those who would have squeezed them into the molds of how society would have them appear. In the first few chapters, she does a good job of this. Especially insightful is the example of her own grandmother, who as a young woman in this time period, disguised both her bobbed hair and her married state so that she could continue in her chosen profession as teacher.

However, in the latter two chapters of the book, the author seems to focus more on the exploitation of women by the theatre industry and it's effects. In this, she seems to stray too far from her theme. It would have been better if she had had more examples like that of her grandmother which supported her theme, rather than diverging off of the topic.

I really do recommend this book at least for the initial chapters, which are an interesting look at the attitudes of an era that has been very much stereotyped. It gives you an idea of the some of the restrictions that would have been felt by a woman who was, not a Gretta Garbo or Clara Bow, but an average person trying to live from day to day. ... Read more

Amazon.com

The forty-two exercises detailed in this comprehensive guideprovide both the instructor and the student a "user-friendly" workshop structure. It may be used forboth beginning and advanced courses of Directing for Theatre. The basic concepts ofdirecting are learned progressively. The approach is totally experiential. ... Read more

Reviews (5)

works best as a textbook
Mr. Converse has written with this helpful introductory course, a fine textbook for introducing one to the craft of directing. When viewed in that context, this book serves its purpose well. Having used this text in conjunction with William Ball's superb book "A Sense Of Direction", in the directing class I teach, I have found Converse's excercises to be helpful and precise (if rather dry) in building craft. Especially helpful is Converse's chapters on blocking and creating pictures. His suggestions and activities designed to teach one how to communicate and direct traffic are most helpful. If one is looking for a great read, this is not the book to use. For that I again suggest Ball or Clurman's fine "On Directing". But for some "hands on" activities in the dramatic classroom or for the director just starting out on their own, this will work just fine- as long as you have someone else to bounce your ideas off of.

A user-friendly directing book
In 10 years of teaching high school drama, this is the first book where the theory of directing is embodied in a series of lessons which can be taught sequentially or mixed and matched. I have used the open scripts in acting class with junior students and amended the lessons to my own ends in picturization, focus, tempo, pathway, subtext and a myriad of other directing skills which need to be built upon.

Exposes you to a series of exercises that help
This book is simple, concrete, and to the point. It will help you develop various directing techniques, and it will leave the rest up to you. Its purpose is not to try and train you into some special type of director, but to give you the basic technical skills that will allow you to find your own artistic style. It is most certainly a great book to start with, and its exercises would likely help more advanced directing students hone their skills.

Too technical, no feeling...
I worry this book may cause new directors to develop bad habits. It is absolutely director cenetered and ignores actors and how to work with them. For seasoned directors it contains nothing new if you already know how to mount an intellectually consistent, well-staged production. The approach to directing in this book takes away all actor creativity, advocating the director as monarch rather than teacher. Several year ago I saw a production of Mr. Converse's THE TEMPEST. It was 4 hours long, featured added material which was introduced to enforce a strained concept. The actors did not seem to understand what they were doing or why. They were like square pegs forced into round holes. And the actor playing Prospero was simply painful to watch. The visual imagery was very nice but the show was terribly over-produced and over-directed...EXACTLY what I would expect to see from the person who wrote this text. He obviously practices what he preaches. If this is the style of directing you advocate, and some do, this is the book for you. But to compare it to Viola Spolin is simply outrageous. Better to just buy her "A REHEARSAL GUIDE FOR DIRECTORS" if you like her "IMPROVISATION FOR THE THEATRE." This book can not touch her sensitivity to directing the performer as opposed to directing the play.

Accessible, challenging "problem projects" teach directing.
Wonderfully practical and insightful, this book sensitizes students to the components of stage direction -- narrative curve, rhythm, space, etc.- to create better directors and actors. Each exercise takes one to two fifty minute periods. The quality of your students's work improves immediately. I use this as the cornerstone of my high school class on directing; however, it would be just as useful for serious middle school students and college students. I love this book! ... Read more

Reviews (7)

Dishing Hollywood: Recipe for Success
I highly recommend Dishing Hollywood The Real Scoop on Tinseltown's Most Notorious Scandals. Laurie Jacobson really knows her stuff and serves up heaping portions of scandal and intrigue of Hollywood's most notorious stars. I have read all of the author's books and Dishing Hollywood is Jacobson at her best. Jacobson brilliantly spins tale after sordid tale, "sprinkles" famous film quotes throughout each chapter and "tops" off with a recipe of the star's favorite dish (or, in some cases, their last meal!). Dishing Hollywood is a tasty treat, and I can't wait for Jacobson's next book!

Whatta Dish! A Collection of Hollywood Scandals Du Jour
I fortuitously fell into this little gem the day after xmas.....a belated "BEST" present to myself.
While I already own Jacobson's two other books and hold her in high regard, this book proves that she is only getting better as a film historian and writer.
She assumes a slick, quasi-cinema noir persona in her narrative and mixes in a Sandra Lee-like easy 'recipe' that takes a not too subtle slam at each of the scandals/stories she relates. The vanity of the 'dish' (aka scandal/tragedy/hard luck story) only enhances the general readability of this book. This is a novel approach that makes an already interesting product even more appealing. I kept thinking that the author did a terrific job with the material she was presenting.
Aside from the kidding around, this book is really rather fair and factual. The author knows her stuff and relies on knowledgeable sources to substantiate or refute claims made in the book.
My only criticism of this book is that I wish it had been longer and had covered some other stories that I find interesting and want to know more about. Hopefully there will be a follow-up to this book which will do that.
Anyway, this is a very good read and worth the $ and time spent reading it.

A shocking and lurid collection
Organized around the theme of food to the extent of featuring choice recipes with each biographical entry, Dishing Hollywood: The Real Scoop On Tinseltown's Most Notorious Scandals by television writer and producer Laurie Jacobson is a compelling look into more than forty tabloid-worthy exploits of Hollywood's stars ranging from the early twentieth century down to the present day. A shocking and lurid collection guaranteed to add spicy conversational anecdotes to one's Hollywood themed cooking, the recipes are as fun as the scandals are fascinating.

Wet your chops on this!!!
Fabulous book full of infamous celebrity events and some unknown ones as well. From Marilyn to Divine, the book is packed with juicy info. Their last meals,favorite foods,what they ate before they knocked someone off. It's all here, great read.

Damn! All that tragedy can make a girl hungry!
Rumors and myths about the some of the worlds most beloved stars shattered! Murder! Scintillating debauchery! Drug abuse!
And recipes too!

Jacobson pulls you in and takes you for a ride around the tawdry side of Tinseltown. Before you know it the book is done like a guilty cookie binge but alas you are left with the everlasting recipes. So moo down some more!

Whip up some goose liver pate and pretend you are Monty Clift. Fading away, hoping he will have his old beautiful face back up in heaven before La Liz had to save him in the wreck that smashed it.
Or wish a peaceful rest for the sweet Sharon Tate and her poor unborn baby over some cheese enchiladas. Sharon's last meal..

But that's just the book! Jacobson's writing style is a gas.
Imagine sitting down with a cigarette girl working Ciro's and having her tell alllll about Gary Cooper and his huge uh, salamie. (I'll save the thrills for the book.)
Unknown facts she's got but shy she's not!
Get this book! There is nothing else like it! ... Read more

Book Description

Discover songwriting techniques from the hit makers! This comprehensive guide unlocks the secrets of hit songs, examining them, and revealing why they succeed. Learn to write memorable melodies and discover the dynamic relationships between melody, harmony, rhythm, and rhyme. Fine-tune your craft and start writing hits! ... Read more

Reviews (4)

A great book on melody
This is a good book, well written , and clearly laid out. It offers the reader a methodical approach to writing better melodies by showing you that good melodies are the result of contrast, balance and fluidity. It also covers harmony and its relationship with melody giving examples from popular songs. The book is a refreshing change as it does exactly what it says on the cover; it looks at melody within song writing, and approaches it as a serious subject to be studied and learned. If like myself you get slightly lost every now and then, read the chapter through, go back and read it again, its really worth it because once this stuff begins to sink in, you go away and see what he's talking about as soon as you turn on the radio or listen to your favourite music. I say a refreshing change because it differs from other song writing books that I have recently purchased with titles such as "How To Write That Hit!" etc which seem to spend about 3 pages telling you how to write songs then divide the rest of the book between telling you how to "Pitch that song in the market" or patronising the reader with little cute stories about how they wrote their half a hit that came out 200 years ago "Oh and then Bruce, as in Springsteen, called up asking how the song was coming along, it was all so hilarious". We don't want cute stories , we want guide lines to the craft of writing beautiful songs. Lastly, in this book, Perricone does not attempt to suggest that technique is more important than inspiration, indeed he says that both work hand in hand, each one necessitating the other. As an aspiring young song writer myself I have often heard this debate between those that believe in the dreaded technique, and those that believe in inspiration alone. The argument on the one hand goes, the decline of the modern pop song is due to the fact that writers no longer learn their craft, long gone are the golden years of song writing (Berlin, Porter, Rogers and Hart etc.). On the other hand, I've heard lots of song writers (none of whom ever got a publishing deal!) saying "you dont need to learn technique, inspiration is what I use". often said with a kind of religious conviction. The example people in this camp always wheel out is the fact that, yes neither Lennon nor McMartney read or wrote music. What these people seem to fail to comprehend is that both Lennon and McCartney were almost musical scholars when it came to the popular songs of their time, analysing, dissecting and pinching sections of these songs. Anyone who's ever read "Revolution in the Head" by Ian Mcdonald (a fantastic book!) will tell you so. My own point of view is consistent with that of Perricone. Having read his book I feel that the knowledge of a little technique has only propelled and projected my creativity and to me at-least it seems preposterous that song writers should think that they need not learn a little craft. Try and become a painter or a carpenter with out a little technique. Now after years of heart ache, not knowing how to develop that little melody in my head and putting the guitar down after five minutes to make a cup of coffee, with a little know how, I am writing better songs. At least my girlfriend thinks so!!! Go and create people! We need good songs to wrap up our memories. Best wishes, jack.

The absolute best book of its kind
THIS is the book that songwriters should be reading in order to truly craft STRONG melodies...Jack has both an instinctive and a trained sense of how to use the structures of rock, classical, blues and jazz songs to craft great pop melodies.

From the first two notes of the first chorus I'd ever heard of Jack's songwriting, I knew he knew something special about how to make those note-by-note choices that make the difference between monotony and magic.

And, lucky us, he shares that knowledge.

Melody in songwriting:tools and techniques for writing hit s
I've read lots of books related to songwritings and I must say, that, this book is one of a melody builder book. It will give you clearer and more focus and guidance for a step by step melodius song result. It's one book for everyone who would like to know that such a melody or a melody for a song is a soul, and each soul will match sometime only for one song alone.

TRIPLE-A FOR "STUCK" SONGWRITERS!
Jack Perricone is a great admirer (and practitioner!) of the pop song, and in this book he outlines successful strategies for songwriters to get back IN the groove, or to break OUT of their writing "ruts". Granted, this material may seem rather "heady" at times, and less intuitive than we like to think creativity is, but when you need a jumpstart to get back on track, you'll be glad to have this assortment of options at hand. Although this book is nominally about Melody only, the author includes all other song components as they interact, and provides a fresh perspective and analysis on how and why certain songs reach us and connect with the public. There's as much respect shown toward rock and blues songs as more traditional pop, and a lot of very valuable stuff for writers of ALL styles of songs. ... Read more

Book Description

This expansive guide covers the where, when, and how for every step of school play production, including play selection and adaptation, auditions, casting and dealing with disappointed students, budgeting, coaching actors, setting up a production team, rehearsals, publicity, and promotion. ... Read more

Reviews (5)

I wish....
I wish someone had recommended this book before I directed half a dozen musicals and learned its contents the hard way...trial and error. While the information is largely common sense, the organization saves the time of having to figure it out yourself. I recommend it highly...especially for school and community theatre.

Everything a director needs to know gathered in one place.
I discovered this book through a fellow theatre professor and was immediately impressed with its scope of information. So impressed, in fact, that I'm planning to adopt it as the textbook for an advanced directing course I teach that culminates with the production of a one-act play.

The authors have covered everything a director needs to know, from selecting the play through rehearsals, peformances,and marketing. This book would be especially helpful for high school/community theatre directors, or those in similar situations where the director is expected to assume some of the responsibilites usually handled by a producer. (The sample forms are especially good for these organizations.)

Although not a substitute for a more thorough book on the pure basics of directing (blocking, composition, etc.), this is an excellent supplement that reviews those basics and enhances them with elements that often aren't covered in directing classes but are faced in production (putting together program copy, for example). Although I've been directing professionally for over 12 years, I immediately ordered a copy for myself after examining it.

THE CHECKLISTS ARE WORTH THE PRICE ALONE
While I didn't actually get any practicle directing techniques from this kit, I wasn't actually looking for any either. Anyone who thinks they can learn to direct from a book, shouldn't be directing in the first place. The kit has several checklists and forms that are a great resource for the new and more experienced director. It also serves as a solid outline of what is or should be involved with directing. It won't teach you how to direct, but then again, that's not the intent.

Perfect for the unorganized or inexperienced director
Survival Kit is the perfect name for this book. The Play Director's Survival Kit has been in great demand no matter what community or regional theater I've worked in. Everyone is borrowing it. Time to buy your own kit. The kit is perfect for the person who may be slightly unorganized (as creative people can be) and will take you through step by step to get your production to a successful conclusion. It's hard to forget anything when you have this kit by your side. I highly recommend this book for anyone who is directing for the first time or who has found that they are not quite as organized as they thought.

Waste of money
It's really a book for amateurs. Most of the tips you can find out yourselves by a little logical thinking. ... Read more

Book Description

From Acting to Performance collects for the first time major essays by performance theorist and critic Philip Auslander.

Spanning over a decade, the essays survey the changes in acting and performance that occurred during the transition from the ecstatic theatre of the Vietnam era to the postmodern irony of the 1980s. Starting with the modern acting theories that inspired theatrical experimentalists of the 1960s such as Jerzy Grotowski and Jacques Copeau and ranging to 1990s performance artists and stand-up comics such as Kate Bornstein and Roseanne Barr From Acting to Performance provides critical analyses of modernist acting theories. Auslander argues that traditional theatre and contemporary performance studies are united by shared concerns and critical approaches. ... Read more

Book Description

For those interested in learning and honing the art and craft of creative playwriting! With an infectious enthusiasm for the theater, Catron presents the basic principles of playwriting, including plot, dialogue, and character development, as well as the more complex issues of creating multi-dimensional characters and writing stageworthy plays that will attract producers, directors, actors, and audiences. Throughout, he sprinkles examples from classical and modern plays, provides exercises for sharpening and developing skills, and offers practical guidelines on working with actors and directors, getting produced and published, and finding an agent. Favoring concrete advice over theory, The Elements of Playwriting is an invaluable resource for both beginning and advanced playwrights and for anyone involved in the art and craft of theater. Special features: 1) provides step-by-step techniques for improving a play; 2) includes information about copyright, agents, organizations, and references; and 3) offers end-of-chapter exercises for fine-tuning creative application of topics discussed. ... Read more

Reviews (9)

Catron helped get my play on stage
I completed the first draft of my play "American Brass" back in 1999. It was pretty awful. Then, I found this wonderful book by Prof. Catron. Following the guidelines and inspiration contained in his book I eventually transformed the draft into a stageworthy script.

Before reading his up front advice "Don't show anyone your first draft", I had given a reader a look at the play. The reader, an experienced theater person, tried to be helpful with constructive comments, which I came to understand after reading Catron's book meant - I had no plot, my characters were flat and I was writing narrratives rather than dialogue.

This book provides a clear understandable guide to the structure and dynamics of a successful play and how to write one. Rewrite, rewrite, rewrite.. and before each rewrite review Caron's book for insight and inspiration.

There's also practical advice - look to get your play on stage not necessarily on Broadway. So I had a high school do a reading and then a church group and now I have the area community theater interested in a full production.

Thank you Prof. Catron

CORE TEXTBOOK FOR THE SERIOUS PLAYWRIGHT
I am a Midwestern physician by day and fledgling playwright by night. One year ago I decided to take an idea to paper and wrote my first play. The story was clear in my mind so the writing went easy. Within six weeks I had completed a rough first draft. At this point I ventured over to the local bookstore to see what books they had on playwriting. There were several, but Louis Catron's The Elements of Playwriting caught my immediate attention. Standing there, I skimmed the contents then read a few pages. The book was full of pearls gleaned obviously from a lifetime of experience in the theater. I bought the book and ordered a coffee to read more, (isn't that the way it always happens?)

Catron goads our left and right brains into action in ten chapters that range from how to get the play started, formatting the text and incorporating Aristotle's six elements of live theater into the work, to suggestions on getting your work published and performed. Various exercises to get the point across are used along the way. The book is a joy to read; a superb "nuts and bolts" treatise for the novice and veteran writer alike. I pick up something new each time I read it. I particularly enjoyed the discussion on how to be a playwright, involving as much with how one "thinks" as what ones "does."

In my opinion, Louis Catron's The Elements of Playwriting is the best book on the subject out there. It helped me complete my play and make it a more polished work. The book would be perfect as the main textbook in any college playwriting class. Louis Catron's "Elements" certainly "plays in the heartland!"

BEST OF THE BEST
I am delighted to see this wonderful title in print again. Unlike many playwriting books on the market today, Catron's guide deals in specifics rather than in mumbo jumbo or vague generalities. (And, from an aesthetic point of view, this reprint edition boasts a far more attractive cover than did the original first edition (hardcover) or the previous paperback edition.)

Dr. Catron deals with being a playwright, the characteristics of plays, turning ideas into plays, creating characters, building plot, constructing dialogue, evaluation and revision, script format, and resources for playwrights. Seven of the ten chapters conclude with excellent exercises designed to get the reader WRITING.

A note of constructive criticism: While the chapter on formatting the script is better than most, I would have liked to have seen it go into even greater detail. Even so, I can recommend this book without reservation and have given copies of it to friends who have become as enthusiastic about it as I.

Not Just For Playwrights!
Don't let the title deceive you - this is a masterly guide for all fiction writers. Catron's insights into creating characters, building plots, constructing dialogue, overcoming writer's block, finding inspiration, and turning ideas into plays apply to all forms of dramatic writing.
Catron is both a playwright and a professor, and this is reflected in his conversational, yet erudite, writing style. He covers the practical aspects of shaping stories from the artisan's point of view, and the intellectual concerns of literature from the scholar's.
The book begins with perhaps the most useful chapter on 'becoming a writer' of any 'how to' book on the market. If you've ever abandoned a work halfway through, despairing over where to go to next, or if you've ever questioned why you even bother to write fiction, then this chapter offers the solution. Catron asks that you begin with the statement 'These things I believe' - what you subsequently write will form your 'Personal Credo'. This will help you define your attitudes, beliefs and passions, and help you find enough thematic material to drive your future work. The 'Credo' is the first step to finding your individual voice, and a treasure-trove that you will plunder endlessly for the rest of your writing days. This first chapter alone makes the book worth owning.
Another great chapter is 'Turning Your Ideas into Plays', again, applicable to all fiction writing. Catron analyses ideas as one of three basic types: character, situation or thematic. From there, he takes you through a series of exercises to help nourish your 'seed' into a full-grown fictional work. Along the way, he provides relevant examples from the masters to help you visualise your own work. In fact, the book is peppered throughout with entertaining and relevant quotes from writers to inspire the beginner and to provoke thought on pertinent subjects.
The remaining chapters deal with character, dialogue and plot building, revising and re-evaluating your work, resources for playwrights, and proper script format. I recommend this book, not only for playwrights, but also for those interested in putting some direction in their work.

Excellent for Bare-Bones Structure
Catron's latest shares excellent information concerning the basics of playwriting. The finest well-known playwriting instructor of our time, this book is second only to Catron's first (also available here), and one that can only be gotten via private distribution. Uh oh. I just realized I wrote a review for this a year ago. ... Read more

Book Description

Succeeding in acting is no accident. The Twelve Step Plan to Becoming an Actor in L.A. is an innovative step-by-step plan for turning dreams into reality.

This one of a kind guidebook, written by two working actors turned casting director and drama therapist, will jump start any actor's career. Authors Dawn Lerman and Dori Keller navigate the actor month by month through a year in Los Angeles.

The Twelve Step Plan to Becoming an Actor in L.A. is supplemented with acting and self-help exercises, monthly progress pages, career/financial worksheets, journal pages, inspiring quotations, and personal stories that complement and sustain the spirit. With every step, this in-depth text imparts key lessons from professionals.

Lerman and Keller share the insider's black book of photographer referrals, classes, resume services, car rentals, insurance brokers, expert and affordable body/beauty services, and numerous other useful resources. The Twelve Step Plan to Becoming an Actor in L.A. is the new bible for aspiring actors in Los Angeles.

Reviews (43)

Courage & Hope
At first I started reading this book simply out of curiosity and perhaps even with some disbelief. I asked myself: "how could someone write a book on such a nebulous and seemingly impossibe subject"? Does this mean that if someone from Kansas, California, Florida, or New York were to read this book and follow its advice that he or she were guaranteed success as an actor? Well, I soon discovered after turning page by page that what this book does is give a young hopeful actor the COURAGE and HOPE to venture forward unafraid and take the plunge into that special world of thespians, knowing that so many of those cloudy unknown areas of the struggle to succeed have not only been identified, but have also been cleared away with the expert and practical advice of the author. While reading this very worth while book,I couldn't help making the comparison that this book is the "Dr. Spock" book for striving actors- a must read for anyone aspiring to become an actor or for anyone who has a son, daughter or special friend seeking success in that special world of drama and make believe.

A must have for any young or jaded actor
I am so glad I found this book.
It does't just give overwhelming information that makes you feel like having a professional acting career is impossible.
It empowers you.

It teaches you how to create your own projects.
Acting like any profession is a step process. I've just been to four years of acting school and taken numorous seminars, and no one before this book showed me how to get out of that catch 22 cycle.

If you want to get work, you needed to have worked. This book illustrates how to make your own work, how to network, and how and where to have a little fun in the process.

I just graduated from NYU and I feel reinspired that I can actually have a career and a little fun while I'm at it. It gives me excercises on self preservation, as well as, hot spots to go at night. It even gives practical advice on how to save on car insurance. My mom gave it to me for christmas and I highly recommend it, if your in LA or your thinking of going to LA. If you want to stay sane happy and sucessful, read this book and carry it with you. It will be your bible.I cant say enough

Dion Gold

My thoughts on the twelve step plan
I've bought several books; most of the books I've read are people who have already been there and done that, and are now helping other people who wish to travel down the same road in the film industry. I read the twelve step plan and e-mailed Dawn; she answered my e-mail within a day or so, she told me if I had any questions just e-mail her again. She is there to help, just as her book pointed out ways to get you started on the right track. After reading the twelve step plan I decided I wanted to do it right, so I enrolled at Indiana University East and picked acting as my major. For anyone looking to be an actor; the degree your looking for is Bachelor of Arts in Humanities. The Humanities degree gives you all the directing,acting and film editing skills you need to aid your quest. "College is just my first step plan, just like everything else in life, you have to be willing to go the distance, so take it seriously". "Dawn is so right, plan ahead and set your goals, then follow through with the twelve step plan".Did I mention plan ahead? Plan ahead! Way ahead! Dori also did a great job on pointing out what not to do while I was reading this book. The twelve step plan explains things in perfect detail;street names, agencies,agents,places like your nearest SAG office, the best places to eat,live and great places to meet people in the film Industry.Countless names and addresses of important places and people you need to visit on your journey. This book is a must read if your ever thinking of attempting a career as an actor; the book prevents you from making mistakes and wasting time. Personaly, here's my advice, also plan ahead what kind of day job your going to have while your going on auditions and getting started, it might as well be the film industry, so I'm taking some film editing classes. Either way I'll be working in the film industry till I get my big break as an actor. So good luck and think positive, see you in L.A.

The most awesome book i have ever read
I thought this book was very different from the other how - to books out there. It was funny and the advice was practical. A great book for students or young actors trying to come up with a life plan. AWESOME!!!!

Fantastic
This was a really great book for young actors, because it lays out the reality of an actor's life in LA. The listings of places to go to see and be seen are dead on. But what's most appealing about this book is the 'plan.' In relatively few months, I arrived in LA and soon had my life as an actor. It took a little while longer than I expected, I always want things faster, but since following the steps, I've made great contacts and auditioned for many casting agents. ... Read more

Reviews (51)

Dead Men Tell Many Tales!
OK, first of all, anyone who has anything bad to say about this book should be taught a lesson in fair criticism. This is a GREAT read! I couldn't put it down the first time I read it back around 1996, and I couldn't put it down any of the other times, either! It is simply that good! Everything in it, I believe to be true (and if it isn't, at least I am open enough to accept it as partially true, or good fun even if I know it is false), and the reasons why are simple. First, many of it's juicy tales were published before, during, and are still being revived to this day; meaning it is a consistency that proves the book to be at least partially true. Second, this is from a man who wined and dined with some of these people. Why shouldn't he have some factual tales to tell about the trashes of Tinseltown?
The entries in this sordid and scandalous soiree into Hollywood's elite past are genuinely juicy and intriguing to read. Who doesn't love to read about Hollywood sin? Included are some facts about the murder of director William Desmond Taylor, which followed closely behind the Fatty Arbuckle scandal. Also, you can learn about some suicides of silent stars when sound entered the picture, those stars (female) who died as a result of their drug addictions, and an immense amount of sex scandals, from older men and younger gals, to homosexuality. And, if that isn't enough, it is packed with many eye-opening photographs. I am telling you this is a WONDERFUL and powerfully charged book that every film buff should own. I love it so much that I would be buried with it (just as Bela Lugosi was buried with his Dracula cape, which is true)when I die! So if you are interested in classic film, or even more, in film stars of yesteryear, then this is definitely a book that you MUST read at least once (although reading it more than once is also very rewarding!). Enjoy!!!!!!!!!!!!

this book lies
Some of this book is interesting about early Hollywood, however a lot of it simply isn't true. The part about Clara Bow is especially mean-spirited and cruel. It is a rather well known fact that the story about Clara Bow "entertaining" the USC football team isn't true, yet, here the story is in print. I also found it uncalled for to show a photo of Judy Garland at about age 15 and then show "old Judy" and describe her as a pill popping queen... it's well known she took pills because of the studio and was given them as "medication." These are screen ledgends being trashed by some yellow journalist who writes at the quality level of The National Enquirer. Also, I don't care to read about supposed sexual escapades of male stars as great conquests and rumors about the sexuality of female stars as actions of a cheap, street corner hooker. This rag essentially says that Errol Flynn could have banged (yes, slang) anyone he wanted to, but Lillian Gish has a incestous lesbian relationship with her sister. Umm, trash, lies, and male boasting.

a book that is a fun guilty-pleasure!!!
Hollywood is a place i have always dreamed about and have NEVER wanted to visit, and this book only solidifies my conviction.
what's great about it is that all of our present day sandals-- OJ, Michael Jackson, J-Lo, the list goes on-- seem like small potatoes compared to the movers and shakers of the Golden Age of Cinema. Drug overdoeses, sex, violence, police corruption, and hintings of the underworld ran rampant and Anger's prose in the style of a tabloid is so engaging i couldn't put this book down!

and i'm not ashamed to admit that the pictures (which were helpful in stories regarding actors i had never heard of before) add to the narrative in surreal and funny ways *** check out the picture of Jayne Mansfield's dead dog at the end!

a fun and quick read for the summer!

An inside glimpse of Tinsel Town
Kenneth Anger, once a child actor himself, unvales and points both barrels at Hollywood and its subculture of excess and outrageousness. Anger tells many stories of Hollywood's greats and not so great throughout the early history of films to the more recent personalities of the golden era of movies (1920s to 1950s). The book is writen in a gossipy National Enquire tone and is entertaining. However, after reading through the book, it seems that the author has a vendetta against Hollywood and is quick to shine the spotlight to uncover the weaknesses and shortcomings of the stars. One cannot help but feel that Anger, (an interesting last name for the author), may have had his own dreams broken by Hollywood and writes to salve his own bitterness about his encounters with Tinsel Town. If not for this edge to the writing, it would have gotten a higher rating. Just the same, if you are interested in Hollywood, in all its foibles, this may be a good read for you.

The Worst Book I've Encountered In Some Time
This book is questionable as far as accuracy. For example, I have read several recent books on Judy Garland. Anger states that she committed suicide and he seems to enjoy pointing out that she looked "old..old..." and he inserts a very bad picture of Ms. Garland, then almost makes fun of her "suicide attempt" and how she appeared when she was found. He is very insensitive and trashy in his approach. He seems to list his "facts" with the glee of someone who is bitter after his own failed efforts in Hollywood. I felt embarrassed for him. I also felt that he really does not cover many personalities.
I recommend reading "Too Much Too Soon" about Diana Barrymore, which was very beautifully written and was co-authored by Gerold Frank. I also recommend Gerold Frank's book on Judy Garland. ... Read more

Book Description

In this groundbreaking book, prize-winning pianist and noted educator William Westney helps readers rediscover their own path to the natural, transcendent fulfillment of making music. Teachers, professionals and students of any instrument, as well as parents and music lovers of all ages, will benefit from his unique and inspiring philosophy, expressed with clarity and immediacy. He offers healthy alternatives for lifelong learning and suggests significant change in the way music is taught. For example, playing a wrong note can be constructive, useful, even enlightening. The energetic creator of the acclaimed Un-Master Class workshop also explores the special potential of group work, outlining the basics of his revelatory workshop that has transformed the music experience for participants the world over. ... Read more

Reviews (4)

"Juicy Mistakes"
I found Westney's book amazingly confirming. His concept of "juicy mistakes" is a brilliant suggestion to accept that you'll make mistakes -- go ahead and make them!...but learn all there is to learn from them! (advice for life, not just music) This is a book for your senses and your brain -- a must read for any music lover.

A Perfect Right Book
This fascinating book is unlike any other in the field, and is refreshingly honest and inspiring on so many levels. It questions some traditional music-teaching practices in a common-sense way that is exciting, and points out the obvious with a new perspective. At its heart, it is a philosophical and intriguing work, yet at the same time pragmatic and useful for a wide range of readers. Plus its style is witty and great fun to read!

Incredible
Westney's book is incredible. His concise, wise thoughts on music and practicing can help anyone who enjoys making music utilize their time in a practice room better. His book helps to tap into the reasons why we make music, and translate that into exciting, fulfilling musical performances.

Good intentions without really getting into it
Westney presents many insightful ideas but fails to really dive into them in the way that a musician can improve. The outline is there, but not the underlying philosophy. It is tinged with touchy-feely adjectives and feel-good stories, and you can tell he has a great grasp on human nature and performance psychology, but just doesn't articulate.
His idea of the "juicy" wrong note is a great one, but only superficially describes the concept, instead of giving a detailed description of how it could apply to practice and performance. His ideas on the student-teacher relationship are excellent, challenging the weekly lesson/performance expectations paradigm. For anyone who has confident musicality and relationship with his or her instrument, this book may be slightly motivating at best, bordering a little on unrealistic. For those who need to take the dive into their own individual musical self, it may be a great book, depending on what type of motivation appeals to you. ... Read more

Book Description

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 acti