Entertainment Books

Book SynopsisUnbelievably, Red Dwarf came back. Its first six series from 1988 to 1993 were quite an achievement, and it's likely we would still be remembering it fondly if the story had ended there. But it didn't. Tom Salinsky has been looking at exactly how this show came to be, how it got on the air, and how it stayed there. But in 1993, when Volume I ended, it was thought that Red Dwarf was gone for good. In Volume II, Tom will look at how it was relaunched, rebooted and reconceived in 1997 and again in 1999. And then how it came back from the dead in 2009 with a supposedly one-off mini-series, which instead launched three more series and a feature-length special. Along the way he'll look at why star Chris Barrie wanted out and then wanted back in again, the perils of having or not having a live studio audience, the wisdom of trying to remake the show in America or as a movie and whether or not there's life left in the show yet. It's also a detailed critical analysis, examining why the best episodes succeed and why the less impressive episodes struggle, while also finding time to ask whether the rules of time travel really allow JFK to assassinate himself, should you really rock out with Hitler, do you have the universe on speed dial, and of course whether Series IX really deserves its reputation as the best by miles. And we'll look at Red Dwarf beyond broadcast television and into unmade episodes, novels, computer games and more besides.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisChronicles John Faulkner''s six-decade journey through British and Irish music, revealing personal stories and significant collaborations.For more than six decades John Faulkner has been at the heart of British and Irish music-making, as a singer, songwriter, composer, musician, producer and filmmaker. Storm in My Heart is John?s highly personal account of his life in music, from his childhood in wartime London, through his years in the English folk explosion and on to life in Ireland as a significant player in the traditional music scene. In a lifetime?s journey John falls under the influence of Ewan McColl and Peggy Seeger, marries tempestuous singer Dolores Keane, and moves to County Galway where he brings his words and music to the world. He has an international number one success with ?Lion in a Cage?, his campaigning tribute to the imprisoned Nelson Mandela, whom he subsequently meets.In this honest and witty memoir John recalls his work with Frankie Gavin, Alec Finn, John Prine and others, revealing the dark arts of the Irish music business while reveling in the freewheeling delights of a life devoted to performing. Storm in My Heart is a clear-eyed chronicle by one of Ireland?s finest artists.Storm in My Heart includes QR codes to a curated selection of John Faulkner?s best loved music.

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Book SynopsisEuripides' Iphigeneia among the Taurians has been a popular and influential text from antiquity onwards. It is a suspenseful drama set on the Black Sea coast in what is now Crimea, which explores themes of family loyalty, Greeks and barbarians, and the nature of the gods. The plot combines an unrecognised meeting between Iphigeneia, now a priestess of Artemis among the Taurians, and her brother Orestes, who with his friend Pylades has been captured and brought to her for sacrifice, with an exciting escape attempt for all three, ultimately brought about by divine intervention. This edition includes a full Introduction to the literary and production aspects of the play, while the Commentary elucidates problems of language as well as interpretation. These combine to make the play fully accessible to intermediate-level undergraduates and graduate students wishing to read it in the original Greek.Trade Review'Any 'intermediate level undergraduate' who is tasked with studying IT should acquaint him/herself with K.'s edition, and consider him/herself very fortunate.' Colin Leach, Classics for AllTable of ContentsIntroduction; Sigla; ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΤΑΥΡΟΙΣ; Commentary; Glossary; Abbreviations; Bibliography; Index

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Book SynopsisRepresenting the latest research on Clara Schumann's social and musical contexts and her creative output, this book reconsiders the composer's songs and instrumental music, and her legacy as a pianist and teacher. It will be of interest to scholars and students of nineteenth-century music, cultural history and gender studies.Trade Review'… what the individual essays exemplify is a sense of academic diversity that underpins current ways of thinking about Schumann-Wieck and his world. In doing so, they break ground not only in relation to Clara Schumann, but in relation to women in music in general.' Juan Carlos Tellechea, Bibliographic ReviewsTable of Contents1. Clara and Robert Schumann's circles in Dresden: 'I take the liberty to request from you an invitation […] to your musical matinée' Anja Bunzel; 2. Disillusionment and patriotism: Clara and Robert Schumann in the wake of the 1848–1849 revolutions Susan Youens; 3. Softened,smudged, erased: Punctuation and continuity in Clara Schumann's Lieder Stephen Rodgers; 4. A way with words: Expressive declamation in Clara Schumann's songs Harald Krebs; 5. Clara Schumann and the nineteenth-century piano concerto Joe Davies; 6. Clara Schumann and Bach Susan Wollenberg; 7. Formal innovation and virtuosity in Clara Schumann's Piano Trio in G minor, Op. 17 Nicole Grimes; 8. Contextualizing Clara Schumann's Romanzen Katharina Uhde and R. Larry Todd; 9. The young prophetess in performance Amanda Lalonde; 10. Clara Schumann's compositional and concertizing strategies, and Robert Schumann's piano sets Alexander Stefaniak; 11. Clara – Robert's posthumous androgyne Roe-Min Kok; 12. Clara Schumann, 'Clara Schumann', and the American press Jonathan Kregor; 13. Clara Schumann's legacy as a teacher Natasha Loges.

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Book SynopsisThis Element draws on critical theories of education, play and identity to argue active Shakespeare teaching is a playful co-construction with learners and holds rich potential towards furthering social justice-oriented approaches to teaching the plays.Table of ContentsIntroduction; 1. Active Shakespeare as critical pedagogy; 2. Critical pedagogy: core principles; 3. Playing as reading the text; 4. Identity and care in the active Shakespeare classroom; 5. Critical active Shakespeare as restorying; References.

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Book SynopsisTable of ContentsIntroduction 1 About This Book 1 Foolish Assumptions 2 Icons Used in This Book 3 Beyond the Book 3 Where to Go from Here 3 Part 1: Getting Started with Home Recording 5 Chapter 1: Understanding Home Recording 7 Examining the Anatomy of a Home Studio 7 Exploring the recording essentials 8 Checking out recording system types 10 Getting a Glimpse into the Recording Process 11 Setting up a song 11 Getting a great sound 11 Recording 12 Overdubbing 12 Making Sense of Mixing 12 Cleaning up tracks using editing 13 Equalizing your tracks 13 Processing your signal 13 Blending your tracks 13 Adding the Final Touches 14 Mastering your mixes 14 Putting your music out into the world 15 Promoting your music 16 Chapter 2: Getting the Right Gear 17 Determining Your Home Studio Needs 18 Detailing Your Digital Options 21 Computer-Based Digital Recording Systems 23 Finding the right computer setup 23 Getting the sound in and out 26 Choosing the right software 30 Studio-in-a-Box Systems 33 Taking a look at the benefits 33 Examining some popular SIAB systems 33 Mobile-Device Recording 34 Android 35 Apple iOS 36 Exploring Sample Setups 37 Live and MIDI studio 38 MIDI-intensive studio 38 Live studio 41 Podcasting studio 42 Audio-for-video studio 43 Mobile on-location studio 44 Chapter 3: Getting Connected: Setting Up Your Studio 45 Understanding Analog Connections 46 The ¼-inch analog plug 46 XLR 49 RCA 49 Delving into Digital Connections 50 MIDI 50 AES/EBU 50 S/PDIF 51 ADAT Lightpipe 51 TDIF 51 USB 52 FireWire 53 Thunderbolt 54 Working Efficiently 55 Taming heat and dust 57 Monitoring your monitors 57 Optimizing Your Room 58 Isolating sound 58 Controlling sound 60 Chapter 4: Meet the Mixer 69 Meeting the Many Mixers 69 Analog mixer 70 Digital mixer 71 Software mixer 72 Computer control surface 73 Understanding Mixer Basics 74 Examining inputs 75 Checking out the channel strip 76 Recognizing mixer routing 82 Opting for outputs 83 Chapter 5: Multitrack Recording 85 Understanding Multitracking 85 Getting Ready to Record 86 Setting up a song 87 Creating and organizing your tracks 87 Selecting a sound source 90 Setting levels 92 Getting the sound you want 92 Choosing a monitoring source 95 Setting a Tempo Map 95 Saving Your Work 95 Sharing Files with Others 96 Part 2: Working with Microphones 97 Chapter 6: Understanding Microphones 99 Meeting the Many Microphone Types 100 Construction types 100 Polarity patterns 106 Assessing Your Microphone Needs 110 Deciding How Many Microphones and What Kind 111 Getting started 111 Movin’ on 113 Going all out 115 Finding the Right Mic for the Situation 117 Partnering Mics with Preamps 120 Solid-state 120 Vacuum tube 121 Hybrid 121 Considering Compressors 122 Analyzing Some Microphone Accessories 123 Microphone cords 123 Microphone stands 123 Pop filters 123 Caring for Your Microphones 124 Daily care 125 Storage 125 Chapter 7: Taking a Look at Microphone Techniques 127 Singling Out Close Miking 128 Detailing Distant Miking 130 Assessing Ambient Miking 131 Selecting Stereo Miking 133 X-Y pairs 133 Blumlein technique 134 Spaced pairs 135 Stereo microphones 136 Overcoming problems with stereo miking 137 Creating Miking Combinations 139 Chapter 8: Miking Your Instruments 141 Getting a Great Lead Vocal Sound 142 Making the most of the room 142 Choosing the best mic 142 Getting Good Backup Vocals 145 Examining Electric Guitar Miking 146 Using the room 147 Getting the most out of the mics 147 Exploring Electric Bass Miking 149 Managing the room 149 Getting the most from the mic 149 Miking Acoustic Guitars and Similar Instruments 150 Making the most of the room 150 Using your mics 150 Maneuvering Horn Mics 152 Understanding the role of the room 152 Making the most of the mics 152 Placing Mics for a Piano 153 Harnessing the sound of the room 153 Managing the mics 153 Setting Up Mics for Strings 154 Making the most of the room 154 Making sense of the mics 154 Digging into Drum Set Miking 155 First things first: Tuning your drums 155 Using the room to your benefit 156 Picking up the kick (bass) drum 156 Setting up the snare drum 159 Tackling the tom-toms 160 Handling the hi-hats 161 Creating the best cymbal sound 161 Miking the whole kit 162 Getting Your Hands on Hand Drums 163 Perfecting Percussion Miking 163 Exploring the impact of the room 163 Choosing and using the mics 164 Part 3: Recording Live Audio 165 Chapter 9: Getting a Great Source Sound 167 Making Sense of the Signal Chain 167 Setting Optimal Signal Levels 169 Understanding Pre and Post Levels 171 Interpreting the various levels 171 Looking at examples 173 Getting Great Guitar, Bass, and Electronic String Instrument Sounds 174 Connect directly 174 Process beforehand 175 Leverage your amp 176 Creating Killer Keyboard Tracks 176 Recording E-Drums, Drum Machines, and Electronic Percussion 177 Making the Most of Microphones 178 Placing mics properly 179 Compressing carefully 179 Chapter 10: Recording Audio 183 Performing Your First Take 183 Punching In and Out 185 Manual punching 185 Punching with a foot switch 185 Automatic punching 185 Repeated punching (looping) 186 Exploring Overdubbing 187 Submixing 188 Bouncing 189 Keeping Track of Your Tracks 190 Chapter 11: Understanding Electronic Instruments and MIDI 191 Meeting MIDI 192 Perusing MIDI ports 192 Understanding MIDI channels 194 Appreciating MIDI messages 195 Managing modes 196 Taking orders from General MIDI 197 Gearing Up for MIDI 198 Sound generators 199 Sound card 202 MIDI controller 203 Sequencer 204 MIDI interface 204 Chapter 12: Recording Electronic Instruments Using MIDI 207 Synchronizing Your Devices 207 Synchronizing two (or more) synthesizers 208 Synchronizing a computer sequencer and a synthesizer 209 Synchronizing a sequencer and an audio recorder 210 Using the transport function from one device to control another 212 Sequencing 214 Recording MIDI data 215 Overdubbing 217 Saving Your Data 218 Transferring Data Using MIDI 219 Chapter 13: Working with Loops 221 Understanding Loops and Loop Types 222 Choosing Loop Formats 222 Setting Up Your Session 223 Setting tempo and time and key signatures 223 Creating song maps 224 Enabling a metronome 225 Adding Loops to Your Sessions 226 Browsing loop libraries 226 Previewing loops 227 Adding loops to your session 227 Editing Loops 229 Creating Loops 229 Part 4: Editing and Enhancing Your Tracks 233 Chapter 14: Getting into Editing 235 Understanding Digital Editing 236 Copy 237 Cut/Delete/Erase 237 Insert 238 Paste 239 Move 240 Export/Import 240 Undo 241 Finding the Section You Want to Edit 241 Editing aurally 241 Editing visually 242 Editing to Improve the Sound of a Performance 244 Replacing a bad note 245 Evening out a performance 246 Getting rid of distortion 247 Getting rid of noise 248 Correcting pitch problems 248 Creating a Performance That Never Happened 249 Creating loops 249 Assembling a song 250 Making compilations of your tracks 250 Discovering Other Ways to Use Editing 251 Adjusting the length of a performance 251 Reversing a phrase 251 Chapter 15: Editing MIDI Data 253 Understanding MIDI Windows 253 Selecting track material 255 Setting MIDI patches on tracks 255 Adding MIDI events 256 Deleting MIDI notes 257 Editing MIDI Data 257 Changing a note’s pitch 258 Changing a note’s duration 258 Changing a note’s velocity 259 Changing time locations 259 Moving notes freely 260 Editing Program Data 260 Changing program patches 260 Moving program change markers 260 Changing Continuous Controller Data 261 Editing lines with the Pencil tool 261 Editing breakpoints 262 Scaling breakpoints 262 Quantizing Your Performance 263 Transposing Your Performance 266 Saving Your Data 267 Transferring Data Using MIDI 267 Part 5: Mixing and Mastering Your Music 269 Chapter 16: Mixing Basics 271 Understanding Mixing 272 Managing Levels as You Work 272 Getting Started Mixing Your Song 273 Mixing in DAWs 274 Using a control surface 274 Using a digital mixer 274 Using an analog mixer 275 Using the Stereo Field 276 Left or right 276 Front or back 278 Adjusting Levels: Enhancing the Emotion of the Song 279 Dynamics 280 The arrangement 281 Tuning Your Ears 281 Listening critically 281 Choosing reference music 283 Dealing with ear fatigue 284 Making several versions 284 Chapter 17: Using Equalization 285 Exploring Equalization 285 Graphic 285 Parametric 286 Low-shelf/high-shelf 286 Low-pass/high-pass 287 Dialing-In EQ 287 Inserting an EQ plug-in in a track 287 Exploring EQ options 289 Equalizing Your Tracks 291 General EQ guidelines 293 Equalizing vocals 296 Equalizing guitar 296 Equalizing bass 297 Equalizing drums 297 Equalizing percussion 299 Equalizing piano 299 Equalizing horns 300 Chapter 18: Digging into Dynamics Processors 301 Connecting Dynamics Processors 301 Introducing Compressors 302 Getting to know compressor parameters 303 Getting started using compression 305 Using compression 306 Looking into Limiters 311 Understanding limiter settings 312 Setting limits with the peak limiter 313 Introducing Gates and Expanders 314 Getting to know gate parameters 314 Getting started using gates 316 Getting started using an expander 317 Detailing the De-Esser 317 Setting Up Side Chains 319 Setting up a side chain 319 Using a side chain 321 Chapter 19: Singling Out Signal Processors 323 Routing Your Effects 324 Inserting effects 324 Sending signals to effects 325 Rolling Out the Reverb 326 Seeing reverb settings 327 Getting started using reverb 328 Detailing Delay 329 Digging into delay settings 329 Getting started using delay 330 Creating Chorus Effects 331 Making Sense of Microphone Modeling 333 Applying an Amp Simulator 334 Detailing Distortion Effects 335 Selecting Tape Saturation Effects 336 Chapter 20: Automating Your Mix 339 Understanding Automation 340 Audio tracks 340 Auxiliary input tracks 340 Instrument tracks 341 Master fader tracks 341 MIDI tracks 341 Accessing Automation Modes 341 Writing Automation 343 Writing automation on a track 343 Writing plug-in automation 344 Writing send automation 345 Viewing Automation 346 Editing Automation Data 347 Using editing commands 347 Editing with the edit tools 348 Chapter 21: Making Your Mix 351 Submixing Tracks 351 Mixing in-the-Box 353 Examining bounce options 353 Performing the bounce 356 Using an External Master Deck 357 Chapter 22: Mastering Your Music 359 Demystifying Mastering 360 Processing 360 Sequencing 361 Leveling 361 Getting Ready to Master 361 Paying a Pro or Doing It Yourself 362 Hiring a Professional Mastering Engineer 363 Mastering Your Music Yourself 365 Optimizing dynamics 366 Perfecting tonal balance 368 Sequencing your songs 370 Balancing levels 371 Preparing for Distribution 372 Chapter 23: Creating Your Finished Product 373 Understanding File Formats 374 Lossy audio file formats 374 Lossless audio file formats 374 Putting Your Music on CD 375 CDs on demand 376 Short-run CD duplication 378 Large-quantity CD replication 379 Delivering Digital Files 380 Download card 381 USB sticks (flash drives) 381 Online music distribution 382 Streaming music sites 382 Creating MP3 Files 383 Bit rate 383 Mode 385 Pressing Vinyl 386 Part 6: The Part of Tens 389 Chapter 24: Ten Invaluable Recording Tips 391 Using an Analog Tape Deck 391 Layering Your Drum Beats 392 Decorating Your Room 393 Setting a Tempo Map 393 Listening to Your Mix in Mono 394 Doubling and Tripling Your Tracks 394 Recording Dirty Room Ambience 394 Overdubbing Live Drums 395 Pressing Record, Even during a Rehearsal 396 Leaving the Humanity in Your Tracks 396 Chapter 25: Ten (or So) Ways to Distribute and Promote Music 397 Marketing Yourself 398 Setting Up Your Own Music Website 399 Checking out musician-friendly hosting services 400 Designing your site 400 Putting Your Music on a Music Host Site 402 Engaging in Social Media Networking 403 Offering Free Downloads 404 Selling Your Music Digitally 404 Licensing Your Music 406 Podcasting 406 Selling Your CDs 407 Promoting Your Music 408 Connecting with an Email Newsletter 409 Index 411

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Book SynopsisTable of ContentsIntroduction 1 About This Book 1 Foolish Assumptions 2 Icons Used in This Book 3 Beyond the Book 3 Where to Go from Here 4 Part 1: The Amazing Five-String Banjo 5 Chapter 1: You Want to Play What?: Banjo Basics 7 Getting into Banjo 7 Loving that amazing sound 8 Becoming a true believer 8 Identifying Different Kinds of Banjos 9 Five-string banjo: The subject of this book 9 Tenor and plectrum banjos: Look for another book 10 Knowing the Parts of a Banjo 12 Looking at the neck 15 Checking out the pot 16 Picking up string vibrations 17 Becoming a Banjo Player 18 Making wise purchase choices 19 Tuning and holding your banjo 19 Fretting chords with the left hand 19 Playing authentic right- and left-hand patterns 20 Practicing some real tunes 20 Jamming in good company 20 Meeting other banjo lovers 21 Keeping your banjo sounding great 21 Chapter 2: Tuning Your Banjo 23 G Tuning: Getting Your Strings in Order 24 Relative Tuning: Tuning the Banjo to Itself 25 Reference Tuning: Getting a Little Outside Help 27 Using an electronic tuner 27 Tuning with an electronic tuner at a jam session 30 Using another instrument as a reference 30 Chapter 3: Starting to Play: Fretting and Strumming 35 Talking Banjo Talk 36 Positioning Body and Banjo 37 Strapping on your banjo 38 Sitting down to play 41 Standing with your banjo 42 Fretting with the Left Hand 44 Fingering G, D7, and C Chords 46 The G chord: Real easy 47 The D7 chord: A little harder 47 The C chord: More challenging still 47 Checking Out Chord Diagrams 48 Reading a chord diagram 48 Interpreting up-the-neck chord diagrams 50 Chord Progressions: Playing Your First Song 51 Chapter 4: Playing by the Rules: Songs and Tablature 53 Breaking Down the Parts of a Song 54 Feeling the rhythm 54 Finding the melody 59 Reading Tablature 65 Finding notes 65 Tracking down the rhythm 66 Playing Pinch Patterns 68 Being a Great Team Player 71 Lead playing: Shining the spotlight on yourself 71 Backup playing: Allowing others to stand out 72 Part 2: Let’s Pick! Basic Banjo Techniques 75 Chapter 5: Getting Right with the Right Hand 77 Clawhammer and Bluegrass: Down-Picking and Up-Picking 78 Clawhammer Right-Hand Basics 79 Finding a good right-hand position 80 Playing your first clawhammer notes 81 Using clawhammer banjo as accompaniment 85 Bluegrass Right-Hand Basics 87 Choosing and fitting thumbpicks and fingerpicks 87 Acquiring a good right-hand position 92 Playing roll patterns 97 Using bluegrass rolls as accompaniment 100 Chapter 6: Sliding, Hammering, and Pulling: Adding the Left Hand 103 Slipping into the Slide 104 Getting down the slide: The basics 105 Trying 3rd-string slides 106 Undertaking 4th-string slides 106 Focusing on 1st-string slides 107 Nailing the Hammer-On 108 Playing open-string hammer-ons 108 Giving fretted hammer-ons a chance 110 Pulling Off the Pull-Off 111 Digging into open-string pull-offs 112 Mastering fretted pull-offs 112 Sizing up special clawhammer pull-offs 114 Bending the Chokes 114 Playing the Foggy Mountain choke 114 Experimenting with choke variations 116 Putting Your Hands Together 116 Making sure your clawhammer right hand is ready 117 Double-checking your bluegrass right-hand skills 118 Joining forces: Using both hands in clawhammer banjo 118 Keeping both hands busy in bluegrass banjo 123 Chapter 7: Working Up Your First Tunes: Clawhammer and Bluegrass 129 Stylin’ It: Playing Real Banjo Music 130 Starting with the right hand 131 Adding the left hand 133 Tackling a Few More Tunes 136 Part 3: Playing Styles Past, Present, And Future 141 Chapter 8: Playing the Old-Time Way: Clawhammer and Traditional Styles 143 Digging Deeper into Clawhammer Banjo 144 Fretting 1st-string clawhammer pull-offs 144 Stretching out with double thumbing 145 Discovering Four Clawhammer Classics 146 Playing “Old Joe Clark” 147 Turning on to double C tuning 148 Playing “Soldier’s Joy” 149 Moving into modal tuning 150 Playing “Cluck Old Hen” 151 Discovering Pete Seeger–Style Banjo 153 Syncing with the Seeger stroke 154 Playing “Swing Low” and “Little Birdie” with the Seeger stroke .155 Fingerpicking the Old-Time Way 156 Exploring Dock Boggs’s style with “Pretty Polly” 156 Picking “Coal Creek March” 158 Chapter 9: Playing Three-Finger Styles: Scruggs, Melodic, and Single String 161 Playing Scruggs-Style Banjo 162 Flowing with the rolls 162 Making your music hot with some licks 165 Progressing to Scruggs-style songs 170 Making Music with Melodic Banjo 172 Discovering how to play melodic scales 172 Getting a feel for melodic banjo songs 175 Playing Single-String Banjo 179 Using the right hand 180 Taking a crack at single-string scales 182 Exercising single-string techniques in songs 186 Combining Three-Finger Techniques 190 Chapter 10: Playing Up-the-Neck Backup: Chords and Vamping 195 Playing Movable Major Chords 196 The barre shape 196 The F shape 198 The D shape 199 Moving from the F shape to the D shape 200 Playing Movable Minor Chords 200 Converting F-shape major chords 201 Converting D-shape major chords 202 Converting barre-shape major chords 203 Using Vamping in Backup Playing 205 Working out the mechanics of vamping 205 Using F and D shapes with vamping 206 Knowing When to Use Vamping 207 Chapter 11: Playing Historical Styles: African, Minstrel, and Classic Banjo 209 Exploring African-American Banjo Roots 210 Converging Cultures: The World of Minstrel Banjo 211 Uncovering the historical background 211 Getting into minstrel banjo 212 Discovering drop-C tuning 212 Mastering minstrel technique 213 Trying some minstrel tunes 214 Branching Out with Classic Banjo 215 Understanding classic banjo technique 216 Introducing yourself to the classics 216 Chapter 12: Networking into Banjo Culture 221 Taking Private Lessons 222 Overcoming lesson anxiety 222 Finding the right teacher 223 Playing Music with Others 226 Finding a good jam 226 Getting ready for a jam session 227 Joining in a jam 228 Observing good jamming etiquette 230 Attending Workshops and Camps 231 Workshops: Fine-tuning your techniques 231 Banjo, bluegrass, and old-time camps: Rubbing elbows with the pros 232 Heading to a Bluegrass Festival 235 Discovering what festivals are all about 235 Finding a festival that’s right for you 237 Part 4: Buying A Banjo and Keeping It In Good Shape 239 Chapter 13: Finding Your Banjo Bliss: A Buyer’s Guide 241 Establishing Your Banjo Boundaries 242 Making the Leap: Resonator or Open-Back? 243 Pumping up the volume: Resonator banjos 243 Going the old-time way: Open-back banjos 245 Finding a Great Beginner’s Banjo 246 Knowing what’s in the pot 246 Getting good string action 246 Finding bridge height 247 Measuring string spacing 249 Checking the tuners 249 Taking the plunge 252 Stepping Up to a Better Banjo 253 Budgeting for a quality banjo 254 Knowing a quality banjo when you see it 255 Plugging in: Electric banjos 259 Going vintage 261 Finding the Right Music Store 263 Buying from an acoustic specialty store 263 Buying online 264 Getting you started: A banjo store directory 265 Chapter 14: Getting the Right Stuff: Banjo Gear 267 Picking Up the Stuff You Really Need 267 Cases: Becoming King of the Road 268 Strings: You can’t pick without ’em 273 Picks: Giving your fingers playing power 277 Straps: Take a load off! 278 Capos: Playing easily in different keys 278 The 5th-string capo and spikes: Going along for the ride 281 Electronic tuners: Getting by with a little help 283 Collecting More Cool Tools to Help Your Playing 285 Metronomes and drum machines 285 Your computer and the banjo 288 Chapter 15: Taking Care of Your Baby: String Changing and Basic Maintenance 291 Replacing Banjo Strings 292 Deciding when your strings need a changin’ 292 Changing strings 1 through 4: A step-by-step guide 293 Replacing the 5th string 299 Setting the Bridge 300 Discovering harmonics 301 Using harmonics to set the bridge 301 Adjusting Head Tension 303 Relating head tension to banjo tone 303 Tightening the head 304 Keeping Your Banjo Looking Its Best 307 Knowing When to Consult a Professional 309 Part 5: The Part of Tens 311 Chapter 16: Ten Tips to Make Practicing More Fun 313 Practice Regularly 313 Set Goals 314 Warm Up 315 Use Tablature Sparingly 315 Get the Right Hand First 316 Gradually Increase Your Speed 316 Take Songs One Measure at a Time 317 Play the Right Repertoire 318 Listen Actively 318 Keep Track of Your Progress 319 Chapter 17: Ten Great Banjo Players You Need to Hear 321 Earl Scruggs (1924–2012) 321 Pete Seeger (b 1919) 322 Béla Fleck (b 1958) 322 Bill Keith (b 1939) 323 Mike Seeger (1933–2009) 323 Don Reno (1927–1984) 323 J D Crowe (b 1937) 324 Tony Trischka (b 1949) 324 Alison Brown (b 1962) 325 Jens Kruger (b 1962) 325 Part 6: Appendixes 327 Appendix A: Banjo Chords and Notes 329 Chords 329 Notes on the Banjo in G Tuning 332 Appendix B: Audio Tracks and Video Clips 335 Discovering What’s on the Audio Tracks 335 Looking at What’s in the Video Clips 340 Customer Care 342 Index 343

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Book SynopsisAfter teaching for a decade in the UK, Petra Kuppers is now Professor of English, Theatre and Drama, Art and Design, and Women's Studies at the University of Michigan, USA. She also teaches on the low-residency MFA in Interdisciplinary Arts at Goddard College, USA, and runs the international disability culture collective, The Olimpias.Table of ContentsSeries editors' preface 1. Going to the Theatre 2. Writing Disability Theatre Histories 3. Making Theatre Further reading Index.

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Book SynopsisKate Elswit is Reader in Theatre and Performance at the Royal Central School of Speech and Drama, University of London, UK, and author of Watching Weimar Dance (2014). She has won four major awards for scholarly publications?the Oscar G. Brockett Book Prize from the Congress on Research in Dance, the Gertrude Lippincott Award from the Society of Dance History Scholars, the Biennial Sally Banes Publication Prize from the American Society for Theatre Research, and honorable mention for the Joe A. Callaway Prize.

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Book SynopsisPractical Recording Techniques covers all aspects of recording, perfect for beginning and intermediate recording engineers, producers, musicians, and audio enthusiasts. Filled with tips and shortcuts, this hands-on, practical guide gives advice on equipping a home studio (whether low-budget or advanced) and suggestions for set-up, acoustics, effects, choosing mics and monitor speakers, and preventing hum. This best-selling guide also instructs how to mike instruments and vocals, judge recordings and improve them, work with MIDI and loops, do mastering, and put your music on the web. Two chapters cover live recording of classical and popular music.  New in the seventh edition: Complete update of all types of recording equipment, plug-ins, and recording software Increased focus on current industry and classroom trends like DAW signal flow and operation (during recording and mixdown), while still covering analog fundamentals UTrade Review"[This] is a comprehensive text, written clearly so concepts are easy to understand and apply. It is a good resource for my students both for the class and afterward, as they pursue their careers. Although I hadn't used the companion website before, now that I've looked at it more closely, I already plan to incorporate it into my classes.” -- Tom Wolfe, University of Alabama School of Music "Bartlett's book covers all the major areas for my Recording 1 students with simplicity and just enough depth, taking a logical approach to everyday recording applications. It's a solid stepping-stone and excellent guide to start your recording career." -- Jeremiah Slovarp, Faculty & Technical Director, School of Music at Montana State University and Emmy Award Winning Sound & Recording Engineer "Bartlett’s 7th edition carries on its reputation of handling the fundamentals of sound recording with reader-friendly writing, helpful illustrations, and the expertise that’s made it a classic in audio education for so many years." – Stanley R. Alten, Syracuse University "I have used this text (and previous editions of this text) as I find it well written, easy to understand/accessible to new learners and is available at a moderate cost to the learner.Great Job!" -- David Haggadone, Lansing Community College "I like that the language is accessible to beginners, and I think the breadth of topics is great for an intro course. The companion website also makes my job as an instructor easier" -- Colleen M. Clark, Salisbury University "I’ve been teaching with Bartlett’s Practical Recording Techniques since the 4th edition because it is accessible to all of my students, who really run the gamut when it comes to prior knowledge and/or experience. It also covers both studio and concert hall approaches -- both of which I deal with in various classes throughout the year. The 7th edition not only taught me some new things but also gave me fresh ideas and perspectives for further utilizing it in my classes.” -- Kevin Harbison, recording engineer, Technical Director of Grusin Music Hall, University of Colorado Boulder "Whether you are recording others or capturing your own muse, this book can help you find your way. Bartlett combines an expert's knowledge and an aficionado’s love of music, and he's produced a book and accompanying online materials that both seasoned professionals and absolute newbies can learn a lot from." -- Flawn Williams, Georgetown University Department of Performing Arts Table of ContentsACKNOWLEDGMENTS PREFACE CHAPTER 1: A Basic Overview of the Recording Process CHAPTER 2: Sound and Psychoacoustics CHAPTER 3: Studio Acoustics CHAPTER 4: Signal Characteristics of Audio Devices CHAPTER 5: Equipping Your Studio CHAPTER 6: Monitoring CHAPTER 7: MicrophonesCHAPTER 8: Microphone Technique Basics CHAPTER 9: Microphone Techniques for Instruments and Vocals CHAPTER 10: Equalization (EQ) CHAPTER 11: Effects and Signal Processors CHAPTER 12: Mixers and Mixing Consoles CHAPTER 13: Digital Audio CHAPTER 14: Computer Recording CHAPTER 15: DAW Signal Flow CHAPTER 16: DAW Operation CHAPTER 17: Judging Sound Quality with Critical Listening CHAPTER 18: MIDI and Loops CHAPTER 19: Session Procedures CHAPTER 20: Mastering and CD BurningCHAPTER 21: On-Location Recording of Popular Music CHAPTER 22: On-Location Recording of Classical Music CHAPTER 23: Web Audio, Streaming, and Online Collaboration APPENDIX A: dB or Not dB APPENDIX B: Optimizing Your Computer for Multitrack Recording APPENDIX C: Impedance APPENDIX D: Phantom Power Explained APPENDIX E: Legacy Recording Devices AUDIO GLOSSARY INDEX

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Book SynopsisA memoir by the Oscar-winning, platinum-selling rapper and producer for fans of Rick Ross'sHurricanes and The Autobiography of Gucci ManeThe hustle still continues for hip-hop OG Juicy J as he shares his invaluable story as an unwavering force in the music industry. Jordan Houston's rise to stardom was never easy. He began his journey on the streets of Memphis in the '80s, always inspired by music and with big dreams of becoming a superstar rapper. Jordan stuck to his plan with determination, on a never-ending grind to greatness. From a young, poor, ambitious kid to an Academy Awardwinning and Grammy-nominated recording artist and entrepreneur, the Juice Man offers his wisdom as one of the most influential tastemakers in the game. A raw, intentional portrait of artistry and a never-before-seen look into the making of a respected musical veteran,Chronicles of the Juice Manis an essential read for creatives everywhere.

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Book SynopsisThe behind-the-scenes story of the iconic film, featuring new interviews with the cast and crew. An unflinching confrontation of humanity's dark side, Brian De Palma's crime drama film Scarface gave rise to a cultural revolution upon its release in 1983. Its impact was unprecedented, making globe-spanning waves as a defining portrait of the gritty Miami street life. From Al Pacino's masterful characterization of Tony Montana to the iconic Say hello to my little friend, Scarface maintains its reputation as an unwavering game changer in cult classic cinema. With brand-new interviews and untold stories of the film's production, longtime film critic Glenn Kennytakes us on an unparalleled journey through the making of American depictions of crime.The World Is Yourshighlights the influential characters and themes within Scarface, reflecting on how its storied legacy played such a major role in American culture.

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Book SynopsisThis book offers a wealth of resources, critical overviews and detailed analysis of Ivo van Hove's internationally acclaimed work as the foremost director of theatre, opera and musicals in our time. Stunning production photos capture the power of van Hove's directorial vision, his innovative use of theatrical spaces, and the arresting stage images that have made his productions so popular among audiences worldwide over the last 30 years. Van Hove's own contribution to the book, which includes a foreword, interview and his director's notes for some of his most popular shows, makes this book a unique resource for students, scholars and for his fans across the different art forms in which he works. An informative introduction provides an overview of van Hove's unique approach to directing, while five sections, individually curated by experts in the respective fields of Shakespeare, classical theatre, modern theatre, opera, musicals, film, and international festival curatorship, offer readTrade ReviewFascinating insights into the breadth, diversity, evolution, and significance of van Hove’s work. * Shakespeare Quarterly *The subtitle of Ivo van Hove: From Shakespeare to David Bowie suggests how widely [van Hove] has ranged to create theatre synthesizing realism and stylization to stimulate audiences into seeing classics of every kind with fresh eyes. And that subtitle doesn’t entirely capture the full range on display in this informative new collection assembled by theatre scholars Susan Bennett and Sonia Massai. * American Theatre *Table of ContentsList of Illustrations Colour Plates Notes on Contributors Foreword, "My Life in Theatre" by Ivo van Hove Acknowledgements Introduction Section One: Directing the Classics Section Two: The Festival Performances of Ivo van Hove and Toneelgroep Amsterdam Section Three: American Theatre Section Four: Opera across Europe Section Five: Creation, Adaptation, Direction Selected Further Reading Notes Bibliography Index

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Book SynopsisListening and Talking: A Pathway to Acting provides undergraduate acting students with a clear, achievable, step-by-step way to approach the work of playing a role. The text is supplemented by exclusive video material to take the actor from their first encounter with the text through rehearsals with fellow actors and into performance. Drawing from the author''s twenty years'' experience of teaching at the Yale School of Drama, this book, which is influenced, too, by the work of legendary teachers such as Konstantin Stanislavski and Uta Hagen, presents a thorough examination of key aspects of the actor''s technique (for example, listening, playing an action and pursuing an objective). Throughout, it includes exercises and process points through which students can put into practice the key lessons from each chapter.The practices laid out in this book form a holistic curriculum that not only ensures measurable results over a semester- or year-long course, but also sets in motion anTable of ContentsPreface and Acknowledgements Introduction: Looking to the Path—What Is Acting? Part I: The Actor’s Path—Preparing for Rehearsals Chapter 1. Given Circumstances: What Will You Listen To? Reading the play Chapter 2. Objectives: What Will You Listen For? Chapter 3. Inhabiting Character Part II: The Character’s Path—Rehearsal Chapter 4. Action: Targeting your partner Chapter 5. Building the Path Chapter 6. Technique in Action: Rehearsal Strategies Part III: The Collaborator’s Path—From Rehearsal to Performance Chapter 7. Rehearsal practice Chapter 8. In performance In Conclusion

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Book SynopsisFocusing on examples from medieval theatre, women's suffrage campaigns, and the 2012 Olympics Opening Ceremony, this is the first book to offer a critical overview of pageant as a dramatic form. By enacting highly selective historical episodes, pageants manipulate audiences' sense of the past. Through iconic music, affecting images, and vernacular forms, pageants express and, in turn, shape religious, civic, or political allegiances. Freely appropriating elements of history plays, patriotic celebrations, opera, and film, pageants create spectacles of sensory overload. Impressive recent scholarship recognizes pageants as public history, but this is the first authoritative account of the origins, characteristics, and techniques of pageants as a theatrical idiom. Performed in sporting arenas, the open air, or purpose-built theatres, these paratheatrical events express identity through what Erika Fischer-Lichte calls the re-theatricalization of theatre. Pageants are intimately connected wTable of ContentsList of Illustrations Series Preface Introduction: Ritual and religious origins of pageants Chapter 1: Pageants in the Middle Ages Chapter 2: Pageants and Power in the Twentieth Century Chapter 3: Pageants and the the Invention of Tradition Notes References Index

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Book SynopsisTraditional speech work has long favored an upper-class white accent as the model of intelligibility. Because of that, generations of actors have felt disconnected from their own identities and acting choices. This much-needed textbook redresses that trend and encourages actors to achieve intelligibility through rigorous language analysis and an exploration of their own accent and articulation practices. Following an acting class model, where you first analyze the script then reveal yourself through it, this work breaks down a process for analyzing language in a way that excites the imagination. Guiding the student through the labyrinth of abstract concepts and terms, readers are delivered into the practicality of exercises and explorations, giving them self-awareness that enables them to make their own speech come alive. Informed throughout by notes from the author's own extensive experience working with directors and acting teachers, this book serves as an ideal speech-trainingTrade ReviewThe author’s meticulous linguistic analysis paves the way for understanding the use of the technical skills of pitch/melody, volume/dynamics, and tempo/rhythm introduced later in the sequence. The inclusion of a warmup template is beneficial to giving students guidance in devising their own customized warmups. * Professor Robert Gonzalez, University of Tampa, USA *A fresh and engaging approach to speech-work for actors working in the contemporary theatre. It stresses intelligibility and clarity in any accent or dialect rather than imposing a standard of speech that is only appropriate for a limited range or roles and styles. * David Carey, Voice and Text Director, Oregon Shakespeare Festival, USA *Table of ContentsIntroduction Chapter 1: Warm-ups Chapter 2. Language structure Chapter 3. Musicality Chapter 4. Anatomy Chapter 5. English Speech Sounds Chapter 6. Rhetoric Chapter 7. Looking ahead Chapter 8. Glossary Glossary Bibliography

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Book SynopsisCinema in the Arab world has been the subject of varied and rigorous studies, but most have focused on films as text, providing in-depth analyses of plot, style, ideologies, or examination of the biographies of prominent directors or actors. This innovative new volume shifts the focus on Arab cinema off-screen, to examine the histories, politics, and conditions of distribution, exhibition, and cinema-going in the Arab world. Through broadening the frame of study beyond the screen, the book widens understanding of the cinema, not merely as a collection of films-as-texts, but as a site of cultural and political contestation in the Arab world. Divided into two sections, and guided by interdisciplinary considerations, the contributors examine historical and contemporary issues of Arab cinema in terms of the experience of movie-going and filmmaking. They examine the networks of distribution and exhibition, as well as the contested and multiple meanings that the cinema embodied through dTable of ContentsAcknowledgements Figures and table List of Contributors Introduction, Ifdal Elsaket (Netherlands-Flemish Institute, Egypt), Daniel Biltereyst (Ghent University, Belgium) and Philippe Meers (University of Antwerp, Belgium) I Arab Cinema Histories: Distribution, Exhibition and Audiences 1.Misr Abroad: Trading Egyptian Films in Colonial Maghreb, Morgan Corriou (University of Paris 8 Vincennes – Saint-Denis, France) 2.“Le Roi du Cinéma”: Joseph Seibarras and North African Film Exhibition, 1925-1945, Eric Smoodin (University of California, Davis, USA) 3.Access for the Axis: The Battle for Ideological Supremacy on Middle Eastern, North African, and Turkish Cinema Screens Between 1933-1945, Kajsa Philippa Niehusen and Ross Melnick (University of California, Santa Barbara, USA) 4.Egyptian Women’s Empowerment and Early Cinema-Going, Mohannad Ghawanmeh (Al-Bustan Seeds of Culture, Philadelphia, USA) 5.Anti-Colonial Masculinity, the Catholic Film Center and the Screening of Religious Difference in 1950s Egypt: The Multiple Lives of Husayn Sidqi's Night of Power, Rahma Bavelaar (University of Amsterdam, Netherlands) 6.Bollywood Film Traffic: Shaping Routes for Hindi Films in the Arab World, 1954-2014, Némésis Srour (University of Paris 8 Vincennes – Saint-Denis, France) 7.The Business of Cinemas in Ismailia with a Case Study of Ghweba Cinema: an interview with Abbas Ghweba and Tarek Ghweba, Asmaa Gharib (Musawah Global Movement, Malaysia) 8.Cinema-going in Egypt in the Long-60s: Oral Histories of Pleasure and Leisure, Ifdal Elsaket (Netherlands-Flemish Institute, Egypt) II Contemporary Issues of Circulation, Experience and Memory 9.Film Distribution and Exhibition in Tunisia since 2011: Is Cinema-going Back in Style? Patricia Caillé (Université de Strasbourg, France) 10.Gatekeepers or Facilitators? MAD Solutions and Other Film Distribution Networks for Arab Cinema, Stefanie Van de Peer (Queen Margaret University, UK) 11.A New Online Cinema Audience? an interview on aflamuna with Jad Abi Khalil, Anaïs Farine (University Paris 8 Vincennes – Saint-Denis, France) 12.A Taste for Cinema: Saudi Arabia’s Mediated Transitional Public Film Culture, Anne Ciecko (University of Massachusetts-Amherst, USA) 13.The Multifunctional Cinema Exhibition Space at the Turn of the Century: a dialogue, Nour El Safoury (independent researcher, Egypt) and Jowe Harfouche (Network of Arab Alternative Screens (NAAS), Lebanon) 14.The Visual Nation: Film, Soft Power and Egypt as a Community of Spectators, Iskandar Abdalla (Berlin Graduate School, Germany) Notes Bibliography Index

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Book SynopsisFinalist in the 2022 Lambda Literary Awards for the LGBTQ Anthology categoryThe Methuen Drama Book of Trans Plays for the Stage is the first play anthology to offer eight new plays by trans playwrights featuring trans characters. This edited collection establishes a canon of contemporary American trans theatre which represents a variety of performance modes and genres. From groundbreaking new work from across America''s stages to unpublished work by new voices, these plays address themes such as gender identity and expression to racial and religious attitudes toward love and sex.Edited by Lindsey Mantoan, Angela Farr Schiller and Leanna Keyes, the plays selected explicitly call for trans characters as central protagonists in order to promote opportunities for trans performers, making this an original and necessary publication for both practical use and academic study. Sagittarius Ponderosa by MJ KaufmanThe Betterment Society by MashuqTable of Contents1. Introduction: “In a Trans Time and Space” by Angela, Leanna, and Lindsey Part One: Disembodied Articulations 2. Introduction to Sagittarius Ponderosa: Waiting, Watching, and Witnessing as Queer Praxis in Sagittarius Ponderosa by Jesse O’Rear 3. Sagittarius Ponderosa by MJ Kaufman 4. Introduction to The Betterment Society: Generations of Language: Mashuq Mushtaq Deen in Conversation with Stephanie Hsu by Mashuq Mushtaq Deen and Stephanie Hsu 5. The Betterment Society by Mashuq Mushtaq Deen 6. Introduction to how to clean your room (and remember all your trauma): how to tell time (when you are trans and processing trauma) by Finn Lefevre 7. how to clean your room (and remember all your trauma) by j. chavez Part Two: Fraught Spaces 8. Introduction to She He Me: Witnessing the Revolutionary Mundane: Raphaël Amahl Khouri’s Queer Documentary Theatre by Melory Mirashrafi 9. She He Me by Raphaël Amahl Khouri 10. Introduction to The Devils Between Us: “Challenging Every Memory”: Manifesting Futurity in The Devils Between Us by Yasmin Zacaria Mikhaiel and Ali-Reza Mirsajadi 11. The Devils Between Usby Sharifa Yasmin Part Three: Familiar/Familial 12. Introduction to Doctor Voynich and Her Children: Cruising Dystopia by Jaclyn Pryor 13. Doctor Voynich and Her Children by Leanna Keyes 14. Introduction to Firebird Tattoo: Transcending Gender to ‘Soar Above the Earth’ in Ty Defoe’s Firebird Tattoo by Courtney Mohler 15. Firebird Tattoo by Ty Defoe 16. Introduction to Crooked Parts: All In and Out of the Family: A Critical Introduction to Azure Osborne-Lee’s Crooked Parts by Marquis Bey 17. Crooked Parts by Azure D. Osborne-Lee

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Book SynopsisA collection of incisive investigations into the ways that 21st-century British theatre works with - and through - crisis. It pays particular attention to the way in which writers and practitioners consider the ethical and social challenges of crisis. Anchored in an interdisciplinary approach that draws from sociology, cultural theory, feminism, performance and philosophy, the book brings multi-faceted ideas into dialogue with the diverse aesthetics, practices and themes of a range of theatrical work produced in Britain since 2005.Topics discussed include:AgeingAusterityGenderMigrancyMulticulturalismAestheticsCompanies discussed include: Theatre UncutLost DogCamden People''s PeopleLungBrighton People''s Theatre Phosphoros Theatre Playwrights discussed include: Jez Butterworth Caryl Churchill Tim Crouch Vivienne Franzmann James Graham debbie tucker green Ella Hickson Charlene James Lucy Kirkwood Simon Longman Cordelia Lynn Simon Stephens Jack Thorne Chris Thorpe GlTable of ContentsNotes on Contributors 1 States of Emergency: Performing Crisis Clare Wallace and Clara Escoda Corporealites 2 Ageing as Crisis on the Twenty-first-century British Stage Siân Adiseshiah 3 Creative Contexts and Crises of Care: Ella Hickson’s The Writer Vicky Angelaki 4 ‘I’m Not Afraid of Being Labelled a Dirty Boring Feminist’: Reproductive Work, Feminism and/in Crisis at the Royal Court Elisabeth Massana Collective action 5 ‘We Need to Make the World We Live in’: Crisis and Utopia in Jack Thorne’s Hope and Lung’s E15 Enric Monforte 6 Peopling the Theatre in a Time of Crisis Sarah Bartley Nationscapes 7 Fields in England: Contemporary English Drama and the Countryside David Pattie 8 ‘Sinking Giggling into the Sea’: Postdemocracy and the State of British Politics in James Graham’s This House and Labour of Love José Ramón Prado-Pérez Contact zones 9 Theatre of Migration: Uncontainment as Migratory Aesthetic Verónica Rodríguez 10 The Crisis of Multiculturalism in Charlene James’s Cuttin’It and Gloria Williams’s Bullet Hole María Isabel Seguro and Marta Tirado New directions 11 ‘Imaging’ Crisis: Photodramas in Focus Elisabeth Angel-Perez 12 Playing in the Dark: Tim Crouch’s Total Immediate Collective Imminent Terrestrial Salvation Stephen Scott-Bottoms 13 Re-membering Assembly Louise Owen and Marilena Zaroulia Index

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Book Synopsis What you want to go back to is your clean, unashamed youth. And you can't.When Chance Wayne left the small town of St. Cloud, he did so with the ambition of being an actor: now, many years later, he returns as a gigolo and the companion of faded movie star Alexandra del Lago. But, can Chance convince the town he did actually make it big, and win over his childhood sweetheart? Or will the mistakes of his past punish him still?Sweet Bird of Youth is Tennessee William's 1959 Broadway hit that explores the social and political climate of 1950s America, at a time where sexual freedom was a topical issue.This new edition includes an introduction by Alison Walls, that explores the play's production history as well as the dramatic, thematic, and academic debates that surround it; a must-have resource for any student exploring the play.Table of ContentsChronology Introduction Development of the play (Williams's state of mind, process and different iterations; collaboration with Elia Kazan) Historical, Social and Cultural Contexts (segregation; sexual freedom; political climate; Williams's other plays) Characters (allegorical names; African-American characters) Setting (St. Cloud; hotel; Easter weekend) Style and language (poetic realism; imagery; music) Themes (corruption/purity; violence; religion; sex; race; beauty; public image; politics) Productions and response (original cast; subsequent notable productions; reviews; film adaptations) Academic Debate Further Study Sweet Bird of Youth Notes

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Book SynopsisWhile most discussions of race in American theater emphasize the representation of race mainly in terms of character, plot, and action, Race in American Musical Theater highlights elements of theatrical production and reception that are particular to musical theater. Examining how race functions through the recurrence of particular racial stereotypes and storylines, this introductory volume also looks at casting practices, the history of the chorus line, and the popularity of recent shows such as Hamilton. Moving from key examples such as Show Boat! and South Pacific through to all-Black musicals such as Dreamgirls, Bring in da Noise, Bring in da Funk, and Jelly's Last Jam, this concise study serves as a critical survey of how race is presented in the American musical theater canon.Providing readers with historical background, a range of case studies and models of critical analysis, this foundational book prompts questions from how stereotypesTable of ContentsIntroduction - American Musical Theater and Its Discontents Chapter 1 - Racial Stereotypes, Major to Minor Chapter 2 - Beyond the Great White Way: Racial Progress and Black Musical Theater Chapter 3 - We Could Make Believe: Liberal Limitations and the American Musical Chapter 4 - Dance Ten, Looks Three: The Chorus Line and the Color Line Chapter 5 - Who Tells Your Story? Race, Immigration, and the American Dream

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Book SynopsisHurled words. Thrown objects. Dodged burgers.A burger was thrown at Travis Alabanza on Waterloo Bridge in 2016. From this experience they have created a poetic, passionate performance piece based around the ''burger'': the texture, and taste of being trans.Their experiences include verbal abuse, ostracisation and being thrown out of a Top Shop changing room. The piece also explores the black trans experience.

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Book SynopsisThrough a series of arresting vignettes and a collection of nameless characters, Alice Birch examines the language, behaviour and forces that shape women in the 21st century. The play asks what''s stopping us from doing something truly radical to change them?Written in response to the provocation that well-behaved women seldom make history, the play is an assault on the language that has fueled violence against women throughout history. Problematic language frequently attached to women is interrogated, from lazy sexist clichés to the conventions around a marriage proposal. Through doing so, the play rails against the conventions of work, sex, motherhood, aging and love. Revolt. She said. Revolt again was first performed at the 2014 Midsummer Mischief Festival in Stratford-upon-Avon. It transferred to the Royal Court Upstairs and was more recently produced at New York''s Soho Rep.It is published here in a Student Edition alongside commentary and notes by Marissia Fragkou, who locTrade ReviewAlice Birch doesn’t want this work to be unseen. Her angry and frantic play Revolt. She aaid. Revolt again is an experimental work focused on using a feminist voice which is loud; a feminist voice which seeks to change the world not through small increments but through a revolution: through the destruction of language; through the destruction of society... * Guardian *Ms. Birch’s play, which became a hit for the Royal Shakespeare Company in 2014, has a way of making you question everything you say when it comes to discussing women and their relationships with men, one another and a world in a state of unending upheaval... Linguistic confusion plagues the frantic souls portrayed... Even the play’s title, with its use of periods instead of commas, suggests the difficulty of getting words out and how inadequate they seem when you do... Yet Revolt teems with the same anarchic fury that possessed Jimmy Porter [in Look Back in Anger] and the same frustrated awareness that there are no easy fixes for an unsatisfactory social system... Instead, Ms. Birch is articulating the alternatives that come to women’s minds in dealing with how they are dealt with — as objects of love and lust, as employees and employers, as mothers and daughters. * New York Times *Acts One to Three are dialogues. Issues of gender language change into material questions of marriage, of women in capitalism, women raped and colonised, women desperate for refusal of the roles imposed on them. By Act Four, everything is deconstructed and there isn’t dialogue anymore... We witness conversations, haunting solo performances, disturbing statements about or directed to women, and a lack of genuine solutions provided in a system that benefits from oppression... In many ways, this play is a call to arms. It exposes the contradictions in simply refusing sexism in words, which is promoted as “revolutionary” by the very agents of the status quo. * Diva Mag *Table of ContentsIntroduction Historical and cultural contexts Scene analysis Critical reception List of key productions Works Cited Revolt. She said. Revolt again Notes

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Book SynopsisThis is the first collection from critically acclaimed playwright Duncan Macmillan, containing the plays Monster, Lungs, 2071, Every Brilliant Thing and People, Places and Things.Trade ReviewDuncan Macmillan’s cracking play is a timely and gripping dissection of parenting and responsibility… This is a play that tests your liberal instincts to the limits. * The Guardian, on Monster *An honest, original and pretty much irresistible tearjerker. * The New York Times ArtsBeat, on People, Places and Things *A woundingly intense two-hander. It is the most beautiful, quietly shattering play of the year. * The Express, on Lungs *If we look to theatre to increase our awareness of the human condition, the evening succeeds on all counts. [...] This talk, which deserves wide dissemination, is better than good: it is necessary. * The Guardian, on 2071 *Heart-wrenching, hilarious... one of the funniest plays you’ll ever see about depression – and possibly one of the funniest plays you’ll ever see, full stop. * The Guardian, on Every Brilliant Thing *The writing is exquisitely painful. At times it feels like Macmillan has taken one of those little spoons, the ones with the serrated edge, for grapefruit, and scooped something out of you. * The Stage, on People, Places and Things *It is a rigorous but impassioned cri de coeur [...] conveyed in a single voice, founded on a lifetime's experience of the workings of the planet, it has real power. * New Scientist, on 2071 *Duncan Macmillans cracking play is a timely and gripping dissection of parenting and responsibility This is a play that tests your liberal instincts to the limits. * The Guardian on Monster *If we look to theatre to increase our awareness of the human condition, the evening succeeds on all counts. This talk, which deserves wide dissemination, is better than good: it is necessary. * The Guardian on 2071 *It is a rigorous but impassioned cri de coeur [ ] conveyed in a single voice, founded on a lifetime's experience of the workings of the planet, it has real power. * New Scientist on 2071 *Heart-wrenching, hilarious... one of the funniest plays youll ever see about depression and possibly one of the funniest plays you'll ever see, full stop. * The Guardian on Every Brilliant Thing *Duncan Macmillan's cracking play is a timely and gripping dissection of parenting and responsibility. This is a play that tests your liberal instincts to the limits. * The Guardian on Monster *One of the most powerful and painfully funny plays I've ever seen. * New York Times on People, Places and Things *Table of Contents1. Monster 2. Lungs 3. 2071 4. Every Brilliant Thing 5. People, Places And Things

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Book SynopsisRobert Henke is Professor of Drama and Comparative Literature, and Director of Undergraduate Studies at the Washington University, St. Louis, USA.Trade ReviewNot since the Cambridge History of American Theatre (1998–2000) has a multiauthored theatre history been as anticipated as Bloomsbury’s A Cultural History of Theatre… Having read all six volumes (1,636 pages), I can testify to the magnitude of their accomplishment. A Cultural History of Theatre is a profound reconsideration of how we understand theatre, its myriad social contexts, and the cultural work it accomplishes… the product of intellectual labor and creativity, and its accomplishments are many. A landmark work in theatre and social history, it illuminates theatre through the lens of culture, and culture through the lens of theatre. * Theatre Survey *All six volumes are aesthetically attractive, with well-chosen cover illustrations in color and numerous halftones throughout. Page layouts with wide margins, good paper, subtitles, generous bibliographies, notes, and index all add to the appeal. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals; general readers. * CHOICE *Table of ContentsList of Illustrations Notes on Contributors Series Preface Editor’s Acknowledgements Introduction: Culture, Cultural History and Early Modern Theatre Robert Henke, Washington University, USA 1 Institutional Frameworks: Mapping Theatrical Resources Tom Bishop,University of Auckland, New Zealand and Robert Henke, Washington University, USA 2. Social Functions: Audience Participation, Efficacious Entertainment Erika T. Lin, The City University of New York, USA 3. Sexuality and Gender: The Early Modern Theatrical Body Eric Nicholson, Syracuse University in Florence, Italy 4. The Environment of Theatre: Urbanization and Theatre Building in Early Modern Europe Karen Newman, Brown University, USA 5. Circulation: Aristocratic, Commercial, Religious and Artistic Networks Pavel Drábek, University of Hull, UK 6. Interpretations: Antitheatrical Thinking and the Rise of 'Theatre' Stefan Hulfeld, University of Vienna, Austria 7. Communities of Production: Lives in and out of the Theatre William N. West, Northwestern University, USA 8. Repertoire and Genre: Culture and Society Friedemann Kreuder, Johannes Gutenberg University Mainz, Germany 9. Technologies of Performance: From Mystery Plays to the Italian Order Blair Hoxby, Stanford, USA 10 Knowledge Transmission: Theatre at the Crossroads of Concept, Medium and Practice Ellen MacKay, Indidana University, USA Notes Bibliography Index

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Book SynopsisRobert Stam is University Professor at New York University, USA. He has authored, co-authored, and edited nineteen books on film and cultural theory, national cinemas, politics and aesthetics, and comparative race and postcolonial studies. His books include: Reflexivity in Film and Literature (1985,1995); Brazilian Cinema (1982);Subversive Pleasures:(1989); Tropical Multiculturalism (1997); Film Theory: An Introduction (2000); Literature through Film (2005); Francois Truffaut and Friends (2006); Keywords in Subversive Film/Media Aesthetics (2015); and World Literature, Transnational Cinema,and Global Media: Towards a Transartistic Commons (2019) He is co-author, with Ella Shohat, of Unthinking Eurocentrism (1994) Flagging Patriotism; (2006); and Race in Translation: (2012); He has taught in France, Tunisia, Brazil, Germany, and Abu Dhabi. His work has been translated into more than 15 languagesTrade ReviewWith this book, Indigeneity and the Decolonizing Gaze: Transnational Imaginaries, Media Aesthetics, and Social Thought, the always brilliant scholar Bob Stam has given us another tour de force. In this new work he tracks how -- over 500 years -- the possibilities of contemporary Indigenous media emerged in the Americas, with special attention to Brazil. He traces the colonial circumstances and European imaginaries that produced “the Protocols of Anti-Indigenism,” morphed into the “transnational Indian”, and landed in the rich dialogue emerging from contemporary Indigenous media. Witty, erudite, and politically engaged, this book is essential reading for those who hope to decolonize cinema studies and locate Indigenous media making in a rich historical context. -- Faye Ginsburg, Kriser Professor of Anthropology; Director, Center for Media, Culture & History, NYU, USA.Building on research in media studies, anthropology, and social philosophy, this timely book offers an in depth account of the recent indigenous turn in global scholarship, politics, and culture. Particularly impressive is Stam’s ability to relationalize processes and events from diverse historical epochs and geographical regions. -- Sérgio Costa, Professor of Sociology and Director of the Institute for Latin American Studies, FU Berlin, GermanyEclectic and breathtaking in its scope, transnational and trans-medial, this book puts on full display Stam’s unique capacity to think across myriad sources and cultural forms in an insightful, sophisticated, and generous way. The book should be an important contribution not only to scholars across but also to cultural producers, activists, and even nonspecialized readers interested in the past and future of indigenous people. -- Gustavo Furtado, Associate Professor of Romance Studies and Co-Director of the Amazon Humanities Laboratory at Duke University, USAThrough a "trans-methodology" that crosses disciplines and boundaries of historical periods and countries, Stam shows us how indigenous peoples have constructed a global and intercontinental response to colonialism over the centuries. As a result, the modern world's history emerges as an "intertextual mise-en-abyme", in which indigenous progressive social thought, political practices and arts interpose the colonial imaginary. -- Joana Brandão, Tavares Professor at Federal University of Southern Bahia (UFSB), BrazilTable of ContentsAcknowledgments Introduction The Terms of Debate A 1492 Project: Conquest and Discovery The Protocols of Anti-Indigenism The Sacred Land Native Arts and Aesthetics Indigenous Media Chapter One: From France Antartique To Shamanic Critique: The Tupinization Of Social Thought France Antartique and Tupi Theory Filming France Antartique Montaigne and Tupi Theory From France Antartique to the Carib Revolution From the French Philosophes to the American Revolution The French Missions, Lévi-Strauss, and the Indian Pierre Clastres, the Anarchist Indigene, and the Wari The Franco-Brazilian Dialogue and the Politics of The Falling Sky Chapter Two: The Indigenous “Cunhã:” The Metamorphosis of a Gendered Trope The Tupinization of Manhattan The “Cunhã” as Filmmaker The Cunhã as Myth: Paraguaçu Caramuru: The Invention of Brazil The Filmic and Televisual Cunhã The Cunhã Degraded The Cunhã as Warrior The Cunhã as Forest Princess The Cunhã as Hyper-Woman The Ecological Cunhã The “Cunhã” as Activist/Artist Myths of Extinction: The Return of the Vanished Indigene Chapter Three: The Transnational “Indian” Land and the Frontier Western Going Native Europe’s “White Indians” The Indian Hobbyists Transmedial Indigeneity The Strategic Uses of Humor Painterly Tricksterism Indigeneity and Music First Peoples, First Features Indigenization of Horror Chapter Four: Cross-National Comparabilities: The Indigenization Of Brazilian Media Centennial Commemorations and First Contact Films Variations on a Westward Theme Proto-Indigenist Cinema in Brazil Indigenous Media in Brazil Video nas Aldeias The Archival Turn Corumbiara: on the Trail of Massacres The Guaraní and Contrapuntal Narration The Martyrdom of the Guaraní-Kaiowá The Transmediatic Indigene of Popular Culture Chapter Five: Triumphs and the Travails of the Yanomami Juan Downey and “The Laughing Alligator” Crossed Filmic Gazes The Poetics of The Falling Sky The Cinematic Imaginary of the Yanomami Cinematizing Shamanism: Xapiri The Last Forest Conclusion: The Theoretical Indigene: Becoming Indian, And The Elsewhere Of Capitalism Colonial Ambivalence and the Transnational Gaze Transformational Becomings From Republican Constitutions to the Carib Revolution The Theoretical Indigene Indigeneity and the Postcolonial Left Before and After the Nation-State Postcolonialism and the Nurture of Nature The Fear of a Red Academe: Indigenous Decoloniality The Power of Shamanic Critique Capitalism vs. the Planet The Transnational Trope of Indigenous Happiness Coda Index

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Book SynopsisFrom the bestselling author of The Right to Speak and The Need for Words comes this Bloomsbury Revelations edition of the essential guide to voice work: The Actor Speaks. Beginning with what every first-year acting student faces in class and ending with what leading professional actors must achieve every night on stage, Patsy Rodenburg's celebrated work as one of the world's foremost voice and acting coaches is fully revealed in this thoughtful and inspirational book about acting.Written for the training and working actor, Rodenburg's book brings to life a wide range of exercises and methods to release the actor's voice, covering everything from posture, breath and the body, performing in specific spaces, previews and first performances, managing different length runs, using microphones and dealing with an ageing or sick voice. This book allows the reader to perform every night, reaching the pitch, passion and vocal intensity that the best roles require.Trade ReviewSeven steps to a thespian heaven... The Actor Speaks is a stimulating read and an invaluable reference for all actors... A landmark book. * The Stage *I am an enormous fan of her work. What is wonderful about her is the directness and clarity of her teaching and her enthusiasm. * Judi Dench *What leaves actors tongue-tied for years, Patsy releases in minutes...through simple, practical actions that can empower anyone. * Simon McBurney *Patsy’s guidance and the clarity and directness of her approach have been invaluable to me. * Ralph Fiennes *Table of ContentsForeword by Judi Dench Introduction: Stories, Theatre, Actors Acknowledgements Stage One: The Actor First Speaks Stage Two: Extending the Voice into Resonance, Range and Speech Stage Three: Voice and Speech Meet Word and Text Stage Four: Voice and Text Meet the Rehearsal Stage Five: Voice, Text and Rehearsal Meet the Stage Stage Six: The Production Meets an Audience Stage Seven: Re-creating the Work Again and Again Index

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Book SynopsisA unique anthology bringing together stories of queer life from international playwrights, these seven plays showcase the dazzling multiplicity of queer narratives across the globe: the absurd, the challenging, and the joyful.From the legacy of colonialism in India to the farcical bureaucracy of marriage law in Kosovo; from a school counsellor in Taiwan coming out as HIV+, to coming of age in an Israel-Palestine coexistence camp, this is a genre-spanning collection of global writing.Contempt by Danish Sheikh (India)55 Shades of Gay by Jeton Neziraj, translated by Alexandra Channer (Kosovo)No Matter Where I Go by Amahl Khouri (Jordan)Only the End of the World by Jean-Luc Lagarce, translated by Lucie Tiberghien (France)Taste of Love by Zhan Jie, translated by Jeremy Tiang (Taiwan)Peace Camp Org by Mariam Bazeed (Egypt)Winter Animals by Santiago Loza, translated by Samuel Buggeln and Ariel G

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Book SynopsisListen to the dialogue: no other American dramatist has this feel for the ordinary talk of ordinary people, or the knowledge of what they do. This is more than a writer''s craft, it is a psychological and moral openness to humanity, an act not of imitating, but of sharing. Sunday TimesThis fourth anthology features Arthur Miller''s two early plays, The Golden Years, a historical tragedy about Montezuma''s destruction at the hands of Cortez, and The Man Who Had All the Luck, a fable about human freedom and individual responsibility, are brought together in this volume. It also features two of his contemporary shorter plays, I Can''t Remember Anything and Clara, first presented on a double bill as Danger! Memory. The latter focus on the importance and dangers of remembering the past, while the early plays, written at the time of the Second World War, mark the emergence of a drama in which public issues are rooted in private anxieties and c

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Book SynopsisLucian Msamati is an actor, writer and director. Born in the UK and raised in Zimbabwe by his Tanzanian parents, Msamati founded Zimbabwe's Over the Edge Theatre Company. As an actor in TV and film, he has appeared in Ultimate Force, Spooks, Ashes to Ashes, Doctor Who, Death in Paradise, Luther, The Hollow Crown (Richard II), The No. 1 Ladies' Detective Agency, The International, Game of Thrones, Gangs of London, Black Earth Rising, His Dark Materials and Taboo. On stage, he has appeared in a large number of productions at venues including the National Theatre, West End, RSC, Almeida, Kiln, Royal Court, Shakespeare's Globe and American Repertory Theater, and notably was the first Black actor to play Iago in Othello. In 2010 he was appointed Artistic Director of the acclaimed British-African theatre company Tiata Fahodzi. Msamati is also a writer and director.

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Book SynopsisFirst, do no harm. How do we defend the truth when no one agrees what it is and many have reason to undermine it?Very freely adapting Professor Bernhardi by Arthur Schnitzler, Robert Icke''s gripping moral thriller uses the lens of medical ethics to examine urgent questions of faith, belief, and scientific rationality.After a critically acclaimed run at London''s Almeida Theatre, The Doctor transferred to the West End in September 2022. This revised and updated edition was published to coincide with the new production.Trade Review‘A gripping moral thriller and a scorching examination of our age.’ * Financial Times *One of the peaks of the theatrical year. * Guardian *Brilliant stuff. And brave. * Sunday Times *

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Book SynopsisLydia Goehr is Professor of Philosophy at Columbia University, USA. Her publications include The Quest for Voice: Music, Politics and the Limits of Philosophy (1998) and Elective Affinities: Musical Essays on the History of Aesthetic Theory (2008).

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Book SynopsisFiction film has been and remains the privileged site of film studies, with film history regularly being viewed as the rise of the narrative fiction film. Taking Fiction Film Seriously argues that despite this privileged position, the notion of fiction as it relates to cinema, has yet to be properly interrogated. Mario Slugan explores the significant misunderstandings concerning the categorisation of film, audience experience, and the real-life effects of fiction. He contends with the contradictory assumption that fiction films have tangible effects on audiences'' beliefs and behaviours, while also intuitively being ''not true'' or not to be believed in. Slugan analyses the notion of ''fiction'' from a theoretical and historical perspective, considering how it manifests in a broad range of films from the past 110 years, including The Arrival of a Train (Lumière brothers, 1895-1897), The Blair Witch Project (Myrick and Sánchez, 1999), and Waltz with Bashir (Folman, 2008). He supports his close readings with findings from philosophy, psychology, and literary studies, and in doing so seeks to challenge the current state of film studies.

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Book SynopsisTerence Davies was a British screenwriter, film director, poet, and novelist. The youngest child of a large working-class Catholic family, he was born in Kensington, Liverpool on 10th November 1945. After leaving school at 16, he worked as a clerk in a shipping office and a book-keeper in an accountancy firm for ten years. During this time he gained amateur acting experience, winning the LAMDA Gold Medal and first prize in the National Arts Awards. In 1973 Terence left Liverpool to go to drama school in Coventry, where he wrote the screen play for Children, which would become the first instalment of The Trilogy. He went on to write and direct nine feature films - Distant Voice Still Lives, The Long Day Closes, The Neon Bible, The House of Mirth, Of Time and the City, The Deep Blue Sea, Sunset Song, A Quiet Passion, and Benediction. His final script, an adaptation of Janette Jenkins' novel Firefly, which retells the last five days of the life of Noel Coward, is currently in development. He died on 7 October 2023.

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Book SynopsisFergus Craig is an actor who's been a regular on a number of TV series including Anna and Katy (Channel 4), Sorry I've Got No Head (CBBC), Star Stories (Channel 4) and Popatron (BBC2), and he has written for Channel 4's Cardinal Burns (Best Sketch Show at the British Comedy Awards), Anna and Katy, Sorry I've Got No Head and a number of BBC Radio shows including Colin and Fergus's Digi Radio.

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Book SynopsisTHE INSPIRATION BEHIND THE HIT NETFLIX SERIES, LUPIN.The year is 1905. Meet Arsène Lupin: a gentleman and a thief. An enemy to the rich and powerful; a friend to the poor - Arsène Lupin will stop at nothing until he gets what he wants.When Arsène Lupin is arrested, the police think it''s all over. But the most dangerous place for Lupin is to be behind bars...

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Book SynopsisBoris Karloff, Peter Cushing and Christopher Lee: three middle-class Englishmen whose names are synonymous with the history of the horror movie. Karloff was born in 1887, the year of Queen Victoria?s Golden Jubilee, and Lee, the youngest, died in 2015, when Queen Elizabeth II became the longest-reigning British monarch. Most books about movie stars focus solely on the films but this ingeniously linked biography of Karloff, Cushing and Lee describes the cataclysmic social and political upheavals which shaped them along with the film industries of Britain and Hollywood. During their lifetimes they saw magnificent theatres repurposed as cinemas, which were in turn transformed into bingo halls as television became the medium which posed a threat to the movies, but would ultimately save their careers and make their classic films accessible to younger generations. The three had much in common. They were born within a few miles of each other ? Karloff in Camberwell, Cushing in Croydon and Lee in Belgravia. None of them had a happy childhood and they struggled at school. They all wanted to act, which was not the sort of career that their backgrounds had equipped them for. Curiously, they were all middle aged before they became not simply well known, but world famous. All three are forever associated with the two key stories from which the horror genre emerged ? Mary Shelley?s Frankenstein and Bram Stoker?s Dracula ? stories with universal and contemporary resonance. They knew that they were typecast and, with some reservations, accepted it and never stopped working. They knew that while we smile at horror films they play into our deepest anxieties about the modern world. Since their deaths, the horror film ? often written off ? has seen a resurgence and a critical appreciation which, in part, relies on the worldwide affection for these three great stars of the screen.

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Book SynopsisExplores the story of one star of the Silver Screen's role in the Second World War.

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