Theatre direction and production Books

Book SynopsisAll the world’s a stage, but someone has to build it. Smooth Diao’s day is going anything but. Judging by how the stagehands treat him, you wouldn’t guess that he’s the foreman who makes sure there’s food on their tables – or that this bunch of yokels work for Xi’an’s premier theatre company, where their unseen grafting makes all the dazzling performances possible. Whoever said showbusiness was glamorous? Keeping the gang out of trouble in the city's many dives and cheap noodle bars is a thankless job when all Smooth wants to do is get home in time every night to salvage his third marriage. So, when this motley crew is given a seemingly ideal chance to set the stage for a performance in the nation's capital, it’s make or break. Can they set their internal drama aside and ignore the sneers of high society long enough to prove their worth? It’s time someone noticed who really makes the show go on.

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Book Synopsis''Even more thrilling than the plot is the atmosphere of shuddering suspense . . . No one brews it better than Agatha Christie'' Daily ExpressFor more than 70 years, Agatha Christie''s The Mousetrap has kept millions of people, from every corner of the globe, on the edge of their seats, and it continues to be a sell-out hit of London theatre. This brand new edition of the world''s longest-running play contains a new introduction by Sophie Hannah, bestselling author of the authorised Agatha Christie Poirot continuation novels, as well as the official play script and a host of exclusive material from the show''s archives. As news spreads of a murder in London, a group of seven strangers find themselves in a remote countryside guesthouse. When a police sergeant arrives, the guests discover - to their horror - that a killer is in their midst. One by one, the suspicious characters reveal their sordid pasts. Which one is the murderer? Who will be th

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Book SynopsisTheatre Studios explores the history of the studio model in England, first established by Konstantin Stanislavsky, Jacques Copeau and others in the early twentieth century, and later developed in the UK primarily by Michel Saint-Denis, George Devine, Michael Chekhov and Joan Littlewood, whose studios are the focus of this study. Cornford offers in-depth accounts of the radical, collective work of these leading theatre companies of the mid-twentieth century, considering the models of ensemble theatre-making that they developed and their remnants in the newly publicly-funded UK theatre establishment of the 1960s. In the process, this book develops an approach to understanding the politics of artistic practices rooted in the work of John Dewey, Antonio Gramsci and the standpoint feminists. It concludes by considering the legacy of the studio movement for twenty-first-century theatre, partly by tracking its echoes in the work of Secret Theatre at the Lyric, Hammersmith (Trade Review‘This is a rigorously compelling examination of a long-neglected area of British theatrical history. With confidence and acuity Tom Cornford lays out the tangled strands of influence and achievement that constitute the Theatre Studio tradition in this country. His examination of the benefits and pitfalls of ensemble theatre-making is sharp, provocative and always surprising.’ – Sean Holmes, Associate Artistic Director, Shakespeare’s Globe and formerly Artistic Director of the Lyric, Hammersmith'This book recontextualises and critiques three fundamental strands of British theatre history through the lens of the theatre studios of Michel Saint-Denis, Michael Chekhov and Joan Littlewood. It is comprehensively researched, elegantly written, robustly argued and emphatically current.' – Jonathan Pitches, Professor of Theatre and Performance at the University of LeedsTable of ContentsIntroduction: Ensemble Theatre-Making and the Theatre Studio Tradition; Section 1 The London Theatre Studio (1936-1939) and the Old Vic Theatre Centre (1947-1952); Chapter 1 Remnants of the London Theatre Studio and the Old Vic Theatre Centre Chapter 2 Practices of the London Theatre Studio and Old Vic Theatre Centre; Chapter 3 Models of Practice in the London Theatre Studio and Old Vic Theatre Centre; Section 2 The Chekhov Theatre Studio (1936-1942); Chapter 4 Remnants of the Chekhov Theatre Studio; Chapter 5 Practices of the Chekhov Theatre Studio; Chapter 6 Models of Practice in the Chekhov Theatre Studio; Section 3 Theatre Workshop (1945-63); Chapter 7 Remnants of Theatre Workshop; Chapter 8 Practices of Theatre Workshop, 1945-55; Chapter 9 Models of Practice in Theatre Workshop; Conclusion Why Do Theatre Studios Matter?

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Book SynopsisHow does the world of theatre and the performing arts intersect with the climate and environmental crisis? This timely book is the first comprehensive account of the sector's response to the defining issue of our time. The book documents a sector in transition and presents theatre professionals, practitioners and organizations with a synthesis of information, knowledge and expertise to guide them to their own endorsement of sustainable thinking and practice. It is illustrated with inspiring case studies and interviews, from London's National Theatre, to Sydney Theatre Company, to the Göteborg Opera and the American Repertory Theatre. These foreground the work of pioneering institutions and individual practitioners whose artistic ingenuity, creative activism and sense of public mission have given shape, content and purpose to what we can now call sustainable theatre'. Spanning almost three decades, the book approaches the topic from multiple angles and through an international perspTrade ReviewA comprehensive resource, at once detailed and eloquent, for theatre administrators, artists, scholars committed to ecological values and practices in theatre studies and performance. * Theresa May, author of Earth Matters on Stage: Ecology, Environment and American Theatre; Co-founder EMOS Ecodrama Playwrights’ Festival *Our world changes rapidly and so does theatre. Beyond the art, sustainability has become a central challenge for institutions and artists alike. Iphigenia Taxopoulou's study is the new standard reference work and provides a guide/paradigm for the modern sustainable theatre. * Oliver Reese, Artistic Director, Berliner Ensemble *Theatres around the world are transforming their practices, operations and venues to be sustainable, and contribute as a sector to help create a sustainable future for our planet and next generations. The book gives a comprehensive, informative and global overview on how to get started, addressing artists, theatre institutions and policy leaders alike. * Heidi Wiley, Executive Director, European Theatre Convention *Table of ContentsPART I: FRAMEWORKS FOR SUSTAINABILITY Chapter 1 – Climate Governance and Cultural Policy Chapter 2 – Cultural Leadership in the Era of Climate Change Chapter 3 – Stories of change: National Theatre (London) & Sydney Theatre Company PART II: SUSTAINABLE THEATRE (IN PRACTICE, ON STAGE, IN ACTION) Chapter 4 – Theatre Buildings and Operations: A Trajectory Towards Sustainability Chapter 5 – Sustainable Production: Greener Practices and Shifting Values Chapter 6 – Creative Responses to Sustainability Chapter 7 – Sustainability Beyond the Walls: Civic Engagement and a Culture of Sharing References Further reading Index

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Book SynopsisFound yourself organising a show that you didn't mean to? Or frustrated that no one else is producing your show and just want to do it yourself? You're not alone.The Accidental Producer is the first-timer's guide to getting a play, musical or anything else on stage. This step by step handbook explains every stage of the production process, from funding your project to selling the show and everything in between.Written by an experienced theatre producer this book additionally shares the perspectives of eleven industry specialists you might encounter on your journey. Park Theatre Artistic Director, Jez Bond on how to connect to a venue decision maker Fleabag producer, Francesca Moody on the secrets to success at the Edinburgh Fringe Arts Council England Relationship Manager, Paula Varjack on how securing their funding actually works Press representative, Chloe Nelkin on how to maximise a show's press coverage Agent, AlTrade ReviewThis book is absolutely essential for anyone forging a path as a theatre producer or for anyone who wants to know how to put on a show. It is an honest, informative, comprehensive and uplifting book that demystifies so much about theatre and makes you excited to find your next show and get going. * Adam Lenson, theatre director *Table of ContentsIntroduction Section A. 1. Who Are You? And What Are You Doing Here?! 2. Choosing What to Produce – ‘The play’s the thing’ Interview with Literary and Creative Agent Rachel Daniels 3. Finding the Perfect Venue Interview with Jez Bond, Artistic Director of Park Theatre 4. Getting the Budget Right Interview with Literary and Creative Agent Rachel Daniels (part two) 5. Raising the Money Interview with Paula Varjack, Relationship Manager Arts Council England Conclusion Section B: Making it Happen 6. First Steps to Making it Happen 7. Appointing the Creative and Production Team Interview with Director Justin Audibert, Artistic Director Chichester Festival Theatre 8. Casting Interview With Talent Agent Alex Segal, Managing Director of Intertalent 9. Contracts 10. Management 11. Rehearsals - the magic begins… 12. Into the Theatre Interview with Production Manager Heather Doole Conclusion SECTION C – Selling your show 13. Press Interview with Press Rep Chloe Nelkin, Founder of Chloe Nelkin Consulting 14. Marketing Interview with Steve Tate, Former Head *of Marketing at Berkeley Repertory Theatre and Atlantic Theater Company, Founder Tate Theatrics 15. Sales Interview with Marc Peachey, Senior Director of Parternships And Ticketing, Todaytix Group 16. Campaign Schedule Conclusion SECTION D – Edinburgh Fringe Festival & How to Maximise a Hit 17. Edinburgh Fringe Interview with Producer Francesca Moody 18. Maximising the Impact on Your Career Final Conclusions APPENDIX Case Study Interview with Actor and Producer Kevin Shen

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Book SynopsisIn The Viewpoints Book, first published in the United States, acclaimed theatre directors Anne Bogart and Tina Landau introduce the history, terminology and philosophy of Viewpoints, and offer a step-by-step recipe for using it as both a training tool and a rehearsal technique. Viewpoints is a technique of improvisation that grew out of the post-modern dance world, allowing actors to learn to function spontaneously and intuitively. It was first articulated by choreographer Mary Overlie, whose ideas have been expanded and developed by Anne Bogart and Tina Landau, adapting them for the use of actors. Over the last twenty years, Viewpoints has ignited the imaginations of actors, directors, designers, choreographers, dramaturgs and writers. It is taught all over the world and used by countless theatre-makers in the rehearsal process to develop flexibility, articulation and strength in movement, and to enrich ensemble playing. An invaluable resource for theatre-makers, as well as for anyone with an interest in collaboration and the creative process, whether in art, business or daily life. 'Viewpoints is timeless – a system belonging to the natural principles of movement, time and space. It is a philosophy translated into a technique for training performers, building ensemble, and creating movement for the stage' Anne Bogart and Tina LandauTrade Review'An extremely good book that offers a lot to anyone seeking to create an exciting new unit for their drama curriculum or add more focus to rehearsals' * Drama Research *'The first comprehensive manual for training actors in the Viewpoints system... this isn't just a book of exercises; there is a clearly defined, suggested pattern of training to introduce the principles of Viewpoints and gradually build up the knowledge and skills of the methods it uses... very thorough and clear' * British Theatre Guide *Table of ContentsPREFACE by the authors CHAPTER 1: A History of Viewpoints and Composition CHAPTER 2: Viewpoints and Composition: What Are They? CHAPTER 3: Viewpoints and Composition in Contemporary Theater CHAPTER 4: How to Begin? CHAPTER 5: Introducing the Individual Viewpoints CHAPTER 6: Putting the Individual Viewpoints Together CHAPTER 7: Group Improvisations CHAPTER 8: Working with Music CHAPTER 9: Starting to Speak CHAPTER 10: Viewpoints in Rehearsal CHAPTER 11: Introducing Composition CHAPTER 12: Composition Toward Making Original Work CHAPTER 13: Composition Toward Rehearsing a Play CHAPTER 14: Composition as Practice and Additional Recipes CHAPTER 15: How to Discuss Composition Work in a Group CHAPTER 16: Composition and Related Arts CHAPTER 17: Viewpoints in Unexpected Places AFTERWORD Working with SITI Company By Anne Bogart Working with the Steppenwolf Ensemble, or An Old Dog Learning New Tricks By Tina Landau BIBLIOGRAPHY

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Book SynopsisIn 1971, Michael Blakemore joined the National Theatre as Associate Director under Laurence Olivier. The National, still based at the Old Vic, was at a moment of transition awaiting the move to its vast new home on the South Bank. Relying on generous subsidy, it would need an extensive network of supporters in high places. Olivier, a scrupulous and brilliant autocrat from a previous generation, was not the man to deal with these political ramifications. His tenure began to unravel and, behind his back, Peter Hall was appointed to replace him in 1973. As in other aspects of British life, the ethos of public service, which Olivier espoused, was in retreat. Having staged eight productions for the National, Blakemore found himself increasingly uncomfortable under Hall''s regime. Stage Blood is the candid and at times painfully funny story of the events that led to his dramatic exit in 1976. He recalls the theatrical triumphs and flops, his volatile relationship with Olivier incl

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Book SynopsisA revised and updated edition of Declan Donnellan's bestselling book, a fresh and radical approach to acting by a world-famous director. 'Cuts open every generalisation about acting and draws out gleamingly fresh specifics' Peter Brook 'Explains Donnellan's highly practical system and sheds unique light on one of the greatest directors of acting in our time' Le Monde 'Hugely practical and never gets lost in theory' El Pais 'A gripping read, as acute about the psychology of lying as it is about the art of acting' Guardian 'Rooted in modern theatre, modern psychology and, above all, modern reality' Izvestia 'Unpretentious, straightforward, and pierced with acute insight' KommersantTrade Review"'Cuts open every generalisation about acting and draws out gleamingly fresh specifics' Peter Brook 'Explains Donnellan's highly practical system and sheds unique light on one of the greatest directors of acting in our time.' Le Monde 'Hugely practical and never gets lost in theory' El Pais 'A gripping read, as acute about the psychology of lying as it is about the art of acting.' Guardian 'Comes from the heart of his own experience: actors' blocks are dismembered lethally and with infectious relish' Alan Rickman 'Brilliantly direct: exhilarating to read and - more importantly - to put into practice' Joseph Fiennes"

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Book SynopsisI can tell the difference between who I am and a side effect.The Effect is a clinical romance. Two young volunteers, Tristan and Connie, agree to take part in a clinical drug trial. Succumbing to the gravitational pull of attraction and love, however, Tristan and Connie manage to throw the trial off-course, much to the frustration of the clinicians involved. This funny, moving and perhaps surprisingly human play explores questions of sanity, neurology and the limits of medicine, alongside ideas of fate, loyalty and the inevitability of physical attraction.Following on from the critical and commercial success of Enron, The Effect offers a vibrant theatrical exploration into the human brain via the heart. It received its world premiere at the National Theatre''s Cottesloe Theatre in November 2012, starring Billie Piper and Jonjo O''Neill. It is published here in the Modern Classics series alongside an introduction by Miriam Gillinson.Trade ReviewLucy Prebble is a playwright blessed with an exceptionally fine mind . . . the play struck me as being both wise and sane, raising more questions than it answers, to be sure, but that seems a sign of integrity in a work dealing with such a complex subject. But what makes The Effect so special, is that as well as being a play of ideas, it is also deeply moving, both in its depiction of the giddy wonder of love, and also in its account of the terrifying wasteland of depression itself . . . The Effect is an astonishingly rich and rewarding play, as intelligent as it is deeply felt. * Daily Telegraph *Lucy Prebble’s follow-up to Enron is a scintillating exploration of the clash between scientific advance and human impulse … it demonstrates the same vivid, provocative intelligence * Financial Times *This four-hander brings the author's agile wit, intellectual penetration and a fresh, deeply affecting empathy to bear on a fundamentally much more complex topic than finance: brain chemistry and what it can – and cannot – tell us about the causes of severe depression and the experience of being in love … This is a provocative and challenging play … it ends in edgy gesture of good sense that made me feel like cheering. * Independent *After her hit with Enron, Lucy Prebble turns to medicine and the mind - to great effect ... The Effect is a four-hander that hopscotches confidently across themes of neurology, psychopharmacology, depression, love and guilt . . . The Effect moves you to thought, sometimes to strong feeling. * Sunday Times *Prebble has written a profound and stirring play. The material is complex but always accessible, the drama serious and informative yet deeply human, with the odd jolt of piercing humour. The Effect confirms her as one of the most intelligent voices in British theatre. * Evening Standard *Incisive dialogue . . . Prebble really researches and the range of her subjects suggests she will have a long theatrical life * Observer *The Effect is a headlong delve into the mysteries of the human brain. And Prebble pulls it off with assurance, tickling our cerebellums in the first half, before tugging on our heartstrings in the second . . . heartbreaking . . . [it has] a heart as well as a brain. * Time Out *Lucy Prebble's absorbing drama, a hit . . . Taut, intelligent * The Times *This is a knotty drama, dealing with scientific objectivity, guilt, the mysteries of the human heart and brain and what makes us who we are, wrapped up in a deceptively simple and constantly entertaining package. * Guardian *

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Book SynopsisBetween 1959 and 2005, David Wood (‘the national children’s dramatist’) corresponded with his mentor, Frank Whitbourn, teacher, writer and theatre practitioner. Frank Exchanges opens with a letter from Whitbourn, praising a young Wood following a performance in one of his plays, and documents an almost fifty-year correspondence before Whitbourn’s death in 2005. Wood sent Whitbourn the first draft of every play he wrote, and Whitbourn commented constructively and often came to see and ‘review’ the plays in production. The letters chronicle Wood’s development as a playwright, director and producer, and Whitbourn’s memories of pre-war theatre-going and meeting Sybil Thorndike, Harcourt Williams and other eminent theatre folk. It is a reflection on the provision, content and status of theatre for young audiences, and ultimately a testimony to the man who Wood considered a friend and mentor.

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Book SynopsisThis unprecedented angle on the oeuvre of Robert Wilson reveals the importance of chair design for his cross-medium art For American experimental theater stage director and playwright Robert Wilson (born 1941), theater is a totality of visual, textual and performative mediums. Wilson has incorporated furniture designs into his scenography since his earliest productions in the 1960s. "In almost all of my plays, there is a chair specially designed," he said. "Often, the chairs are much like an actor." Wilson’s chairs, with their frequently referential names (the Kafka Chair, Queen Victoria Chairs, the Mondrian Chair), assume expanded significance as the surviving artifacts of each performance. The works in this publication range from 1969 to 2011, from the stainless steel mesh Parzival Sofa (1987) to the painted wood Clementine Hunter Rocker (2011). Wilson’s practice as a designer is illuminated by his practice as a collector, with pieces in materials ranging from wood, bronze and steel to taxidermied legs, tempered glass and neon. This publication includes several works never previously exhibited.

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Book SynopsisTHE TIMES'' BEST BOOKS OF THE YEARThis book charts the personal and professional journey of Greg Doran, Artistic Director of the Royal Shakespeare Company from 2012 until 2022 and one of the great Shakespearians of his generation (Sunday Times). During his illustrious career, Doran has directed or produced all of the plays within Shakespeare''s First Folio -- a milestone reached in the same year that the world celebrates the 400th anniversary of its original publication. Each chapter looks at a different play, considering the choices made and weaving in both autobiographical detail and background on the RSC, as well as giving insights into key collaborations, including those with actors such as Judi Dench, David Tennant, Harriet Walter, Patrick Stewart, Simon Russell Beale, Paterson Joseph and Doran''s husband, the late Antony Sher, as well as seminal practitioners such as Cicely Berry, John Barton and Terry Hands. The book also includes 16 stri

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Book Synopsis'Only what is open and searching is active and alive. You, the actor, must learn to find security in insecurity, certainty in uncertainty, to trust that this will lead to discovery and growth.' In What Actors Do, revered theatre director Mike Alfreds explores the wellspring of the actor's craft, tracing a pathway to creative freedom through the thickets of competing methodologies and confusing paradoxes that you will face throughout your training and career. How do you give life to a character that both is and isn't yourself? How can you be childlike and open in your work without becoming childish? How, when you know what's coming next, can you still be spontaneous? Frank, uncompromising and full of sharply focused insights, this book will help you strip away the inhibitions and habitual thinking that can shackle our imaginations. It will show you how to generate truthful performances by trusting your inner creativity and remaining radically open, responsive and present in every moment. Mike Alfreds has been directing plays for more than seventy years. In the 1970s he founded Shared Experience, and has since worked for the National Theatre, Shakespeare's Globe, the Royal Shakespeare Company and also extensively abroad. He is hugely respected within the profession, and is the author of two previous books, Different Every Night and Then What Happens? 'If I was allowed to train again to be an actor, but I was only allowed one teacher, it would have to be Mike Alfreds. To me he is a genius when it comes to acting and storytelling' Mark Rylance

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Book SynopsisIn One-Man Band, the third volume in his epic survey of Orson Welles' life and work, Simon Callow again probes in comprehensive and penetrating detail into one of the most complex artists of the twentieth century, looking closely at the triumphs and failures of an ambitious one-man assault on one medium after another theatre, radio, film, television, even, at one point, ballet in each of which his radical and original approach opened up new directions and hitherto unglimpsed possibilities.The book begins with Welles' self-exile from America, and his realisation that he could only function happily as an independent film-maker, a one-man band; by 1964, he had filmed Othello, which took three years to complete, Mr Arkadin, the biggest conundrum in his output, and his masterpiece Chimes at Midnight, as well as Touch of Evil, his sole return to Hollywood and, like all too many of his films, wrested from his grasp and re-edited. Along the way Trade ReviewOne Man Band gathers strength page by page. This is by far the funniest volume of the three, and in some ways the most revelatory. The more vulnerable Welles becomes, the more vivid Callow’s writing. The fear was always that a description of Welles’ later years would be depressing. But this is that rare thing: a book about decline which is actually exhilarating -- David HareOne Man Band gathers strength page by page. This is by far the funniest volume of the three, and in some ways the most revelatory. The more vulnerable Welles becomes, the more vivid Callow’s writing. The fear was always that a description of Welles’ later years would be depressing. But this is that rare thing: a book about decline which is actually exhilarating -- David HareA biography as huge as if it had been fed a Welles-style diet of roasted chicken and foie gras -- Victoria Segal * Sunday Times *Callow continuously strikes to the quick and the essential in Welles -- Michael Coveney * Independent *Impeccably detailed research peppered with anecdotes and […] his witty conversational style -- Kevin Maher * The Times *

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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 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 SynopsisClem Martini''s award-winning play, Cantata: Rumours of My Crazy, Useless Life provides a window into the experience of people going through the hidden, high-stakes struggles of elder care and mental illness. In Cantata, Martin Bussinger discovers his elderly mother''s health and mental acuity is deteriorating, facing him with emotional and medical problems that feel almost unsolvable. He realizes that negotiating the delicate network of caregiving, strung together with the further challenge of supporting a brother living with a mental illness, places him in a situation that is simultaneously heartrending and darkly comic.Cantata was named winner in the full-length category of Theatre BC''s 2021 Canadian Playwriting Competition and following the play''s premiere production with Sage Theatre on April 28, 2022. it was named Most Outstanding New Play in the Calgary Theatre Critics'' Awards. As Martini puts it, Some readers will recognize themselves in these characters. Some may even be going through these trials right now. The book will be of interest to theatre practitioners, students of acting and directing, social workers, therapists, nurses and others in the caregiving professions as well.

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Book SynopsisA practical guide to creating successful immersive theatre productions, by an experienced theatre-maker and practitioner. Placing the audience at the heart of a production – not as passive bystanders but as active participants – is the impetus behind the hugely varied work of leading immersive theatre companies such as Punchdrunk, OneOhOne and Hobo Theatre. Done well, it can generate powerful, gut-level emotional effects that will long outlast the production itself. Creating Worlds offers a step-by-step breakdown of the entire journey towards making an immersive theatre production, and covers everything you need to consider, including: Deciding what kind of production you want to make, and the ‘mission statement’ for your piece Understanding and anticipating audience behaviour Planning and influencing journeys through the space Balancing interaction with narrative Giving your audience an active role, and navigating the thin line between free will and uncontrolled chaos Managing complex rehearsals, and preparing your cast for the unexpected Extending the audience experience outside of the performance Generating innovative ideas and tactics for marketing your production Throughout the book, Jason Warren draws on his own experiences of creating immersive theatre work in a variety of styles and settings. Also included is a glossary of key terms, and a schedule to help you make the most of your rehearsal period. An essential how-to guide for theatre-makers, artists, students and teachers who want to create their own immersive theatre, Creating Worlds is also a fascinating read for those interested in the inspirations and ideas that fuel the performances they love. ‘The joy of working in this field is that there is so much left to discover… my aim with this book is to help you craft your own beliefs on what makes good immersive theatre – and to create responsive and rich worlds of your own.’ Jason WarrenTrade Review'This book is very much an encourager and enabler of ideas... Jason Warren's writing style is clear, full of vim and often with a light sense of humour. He brilliantly explores and categories the various elements that go into making many forms of immersive work... incredibly useful both for practitioners new to immersive work but also for those who have staged such work in the past... a fantastically insightful and clear exploration of the mechanics of immersive performance and one which bears repeat reading before and during a making process' * Drama Magazine *'A valuable guide… the advice given is judicious and constructive' * Word Matters - Journal of the Society of Teachers of Speech and Drama *'Jason Warren's exceptional introduction to the world of immersive theatre creation is an essential starting point. This book is a must have for any drama library… a brilliant guidebook that simplifies terminology for students and makes the impossible seem possible' * Teaching Drama Magazine *

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Book SynopsisAs part of the ever-growing, increasingly popular Drama Games series, Jessica Swale returns with another dip-in, flick-through, quick-fire resource book, packed with dozens of drama games that can be used in the process of devising theatre. The games will be invaluable to directors and theatre companies at all levels who are creating new pieces of theatre from scratch and need lively, dynamic games to fire the imagination. They will particularly appeal to school, youth theatre and community groups where devising is a growing trend – and a core element of the drama curriculum. Written with clear instructions on How to Play, notes on the Aim of the Game, and illuminating examples from professional productions, the games cover every aspect of the devising process and develop all the skills required: generating ideas, creating characters and scenarios, using stimuli, structuring the piece, and creating an ensemble. Mike Leigh, the most dedicated and celebrated creator of devised work, hails the book in his foreword as 'highly original and massively useful'. 'A remarkable compendium of games and exercises… a lively starting point for rich invention' Mike Leigh, from his ForewordTrade Review'Very useful' * British Theatre Guide *'This new volume is packed full of activities to help the work of teachers, as well as directors.. Any drama teacher, youth leader or play director seeking to develop skills in text-free environments is likely to find practical inspiration here' * Teaching Drama *'A brilliant collection of starting points and structures that can be used again and again' * DramaResource.com *'A book which fairly fizzes with ideas' * The Stage *

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Book SynopsisFrom the bestselling Drama Games series, this dip-in, flick-through, quick-fire resource book – packed with over 200 individual games – is perfect for teachers, playgroup leaders and drama facilitators who want to inspire and entertain children, aged 3 and up, with vibrant and engaging drama experiences. The book includes 40 complete and easy-to-follow lesson plans that can be implemented with little prior preparation – all appropriate for exploring the curriculum or running extra-curricular workshops. The action-packed sessions will transport you and your group to enchanted forests, pirate ships, bustling farmyards or the bottom of the sea, via magic-carpet rides or a journey through outer space. They incorporate vocal exercises, mime and movement, nursery rhymes and fairytales, character development, costumes, songs and music, puppetry, art and text work. Also included is advice on preparing sessions, and a template lesson plan. The most comprehensive and practical drama resource ever published for anyone working with young children (including parents!), the book offers material that will engage any child, from the most reticent to the supremely confident. It is an ideal way to explore and encourage skills of creativity, self-expression, tolerance, mutual respect, problem-solving and communication, in a safe, non-threatening environment. 'Tapping into a child’s ability to play is the way to educate our children and inspire them to learn. Katherine Zachest understands this and her book is a fantastic tool with which to do it.' Sally Cookson, from her ForewordTrade Review'Another winner in the Drama Games series... will be of great value to anyone working with Early Years and KS 1 children, regardless of experience' * DramaResource.com *'Katherine Zachest approaches the teaching of drama with much enthusiasm and understanding... an invaluable practical book for any drama teacher, but especially Primary teachers who want to make drama a vital part of the curriculum' * Word Matters (Journal of the Society of Teachers of Speech & Drama) *

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Book SynopsisThe One-Hour Shakespeare series is a collection of abridged versions of Shakespeare’s plays, designed specifically to accommodate both small and large casts. This volume, The Tragicomedies, includes the following plays: All’s Well That Ends Well, Measure for Measure and The Merchant of Venice.Table of ContentsAcknowledgements 1. Introduction 2. One-Hour projects in performance: money-saving suggestions to consider with a minimal budget 3. Lesson Plan and Editing Exercise 4. Cross-gender casting suggestions 5. All's Well That Ends Well 6. All's Well That Ends Well: suggested cast list and character assignments for a small cast 7. Measure for Measure 8. Measure for Measure: suggested cast list and character assignments for a small cast 9. The Merchant of Venice 10. The Merchant of Venice: suggested cast list and character assignments for a small cast

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Book SynopsisTrade ReviewKate Flatt’s book is the ultimate toolkit for any aspiring movement director. She shares her adventures through the creation of the original production of a small show called Les Misérables after following a ‘hunch’. Movement Direction is an excellent handbook for artists to explore new perspectives and you can expect to feel enlightened by the world of movement direction. Flatt ends the book in a creative way, leaving the reader with her final ten thoughts, my favourite being number 10: “Whatever the process, the results will live in the hearts and minds of the audience.” -- Katie Smith, The One Dance UK Magazine * The One Dance UK Magazine *It’s a wonderful book packed full of insightful information around the craft. What an honour to be sharing my practice .as a part of it It is so useful to have in Guildhall School of Music and Drama library. -- Diane Alison Mitchell, Head of Movement at Guildhall School of Music and Drama. * Head of Movement at Guildhall School of Music and Drama *

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Book SynopsisIn this richly illustrated and information-packed celebration of Broadway set design, Tony Award–winning designer Derek McLane explores the craft while reflecting on some of the greatest stage productions of the past few decades.Together with other leading set design and theatre talents, McLane invites us into the immersive and exhilarating experience of building the striking visual worlds that have brought so many of our favorite stories to life. Discover how designers generate innovative ideas, research period and place, solve staging challenges, and collaborate with directors, projectionists, costume designers, and other artists to capture the essence of a show in powerful scenic design.With co-writer Eila Mell, McLane and contributors discuss Moulin Rouge!, Hamilton, Hadestown, Beautiful, and many more of the most iconic productions of our generation. Among the Broadway luminaries who contribute are John Lee Beatty, Danny Burstein, Cameron Crowe, Ethan Hawke, Moisés Kaufman, Carole King, Kenny Leon, Santo Loquasto, Kathleen Marshall, Lynn Nottage, David Rabe, Ruben Santiago-Hudson, Wallace Shawn, John Leguizamo, and Robin Wagner.Filled with personal sketches and photographs fromthe artists’ archives, this stunningly designed book is truly a behind-the-scenes journey that theatre fans will love.

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Book SynopsisCostume is an active agent for performance-making; it is a material object that embodies ideas shaped through collaborative creative work. A new focus in recent years on research in the area of costume has connected this practice in vital and new ways with theories of the body and embodiment, design practices, artistic and other forms of collaboration. Costume, like fashion and dress, is now viewed as an area of dynamic social significance and not simply as passive reflector of a pre-conceived social state or practice. This book offers new approaches to the study of costume, as well as fresh insights into the better-understood frames of historical, theoretical, practice-based and archival research into costume for performance. This anthology draws on the experience of a global group of established researchers as well as emerging voices. Below is a list of just some of the things it achieves:1. Introduces diverse perspectives, innovative new research methods and approaches for researcTrade ReviewThe ambition and reach of this collection is superb and timely. For those of us working in the area of design, education and practice, this is the book we have been waiting for. [...] Performance Costume contains diverse, yet complementary, perspectives offering a rich and textured resource and is the most significant contribution to the expanded field of costume studies to date. * Studies in Costume & Performance *Performance Costume does an impressive job at covering many areas in the complex world of costume design ... In spite of its expansive scope, this compilation can serve as a useful overview for aspiring costume designers seeking a deeper appreciation for the craft and any reader interested in academic costume theory and research. * Journal of Dress History *A truly pioneering exploration and discovery of new fields of costume study, Performance Costume is the first of its kind. It broadens costume study from within the theatre to consider the design process and its practices and, significantly, aspects of wearing and social significance, looking at TV, cinema, schools, hospitals and the street, alongside theatre. Terrifically stimulating and important ... * Christopher Baugh, University of Leeds, UK *An invaluable resource that is authoritative, international in scope, timely, and riveting. It is unique in its breadth of material, methodologies, and combination of contributions by academic and theatre practitioners in articles and 'snapshots'. * Patricia Lennox, New York University, USA *Table of ContentsList of Figures Notes on Contributors Foreword - Maija Pekkanen (Costume Designer, Finland) Foreword - Simona Rybáková (Costume Designer, Czech Republic) Acknowledgements Introduction: Activating Costume: A New Approach to Costume for Performance - Sofia Pantouvaki (Aalto University, Finland) and Peter McNeil (University of Technology Sydney, Australia) Section 1: Interpreting and Curating Costume 1.1 Real or Virtual?: Studying Historical Costume Drawings and Sketches - Margaret Mitchell (University of the Incarnate Word in San Antonio, Texas, USA) 1.2 Cooking: Studying Film Costume Design - Drake Stutesman (Barrymore Film Center, Fort Lee, USA) 1.3 Displaying Stage Costumes: Exhibitions at the National Centre for Stage Costume, France - Delphine Pinasa (Centre National de Costume de Scène, France) Snapshots 1.4. Cross Cultural Costume Research: Beijing Opera Costumes - Alexandra B. Bonds (University of Oregon, USA) 1.5. Reading Maltese Carnival Costumes - Vicki Ann Cremona (University of Malta) 1.6. Curating Costume – Reflection - Aoife Monks (Queen Mary, University of London, UK) Section 2: Personalities in Costume 2.1. Costume Centre Stage: Re-Membering Ellen Terry (1847-1928) - Veronica Isaac (university lecturer and freelance consultant, UK) 2.2. ‘On and Off the Stage’: Costume, Dress, and Locating the Actor-Manager’s Identity, 1870-1900 - Helen Margaret Walter (Plymouth University and the University for the Creative Arts, Epsom, UK) 2.3. Extravagance, Expense and Notoriety: Gaby Deslys’ French Costumes in America, 1911-14 - Emily Brayshaw (University of Technology Sydney (UTS), Australia) Snapshots 2.4. A Foreign Affair On and Off Screen - Christina M. Johnson (FIDM Museum at the Fashion Institute of Design & Merchandising, Los Angeles, USA) 2.5. Recording Costume Design in the Theatre and Performance Collections at the V&A: Vivien Leigh and Oliver Messel - Keith Lodwick (Victoria and Albert Museum, UK) Section 3: Costume Voices, Costume Histories 3.1. The First Premiere and Other Stories: Towards a History of the Costume Design Profession in Finland - Joanna Weckman (independent post-doctoral costume researcher, exhibition curator, lecturer and costume designer, Finland) 3.2. Spinning Yarns: Locating, Learning and Listening in the Social World of Popular Hindi Film Costume Production - Clare M. Wilkinson (Washington State University, USA) Snapshots 3.3. Hollywood Costume: A Journey to Curation - Deborah Nadoolman Landis (UCLA David C. Copley Center for Costume Design, USA) 3.4. ‘The Getting of Wisdom’: Learning from Anna Senior - Jennifer Gall (National Film and Sound Archive of Australia) 3.5. Design for TV: Costume and Contemporary Clothing - Chrisi Karvonides-Dushenko (costume designer in theatre, film and television, USA) Section 4: Costume and the Body 4.1. The Body as the Matter of Costume: a Phenomenological Practice - Donatella Barbieri (London College of Fashion, University of the Arts London, UK) 4.2. The Body as Site: Interdisciplinary Approaches to Dress in/as Performance - Jessica Bugg (London College of Fashion, University of the Arts London, UK) 4.3. ‘Aware Wearing’ - a Somatic Costume Design Methodology for Performance - Sally E. Dean (interdisciplinary choreographer, performer, teacher and somatic practitioner, Europe, Asia and USA) Snapshots 4.4. Costuming the Foot: a Designer/Performer’s Personal Artistic Methods - Alexandra Murray-Leslie (artist, researcher, performer and co-founder of the international art collective Chicks on Speed, Australia) 4.5. Costume and the Modernist Body: Fashioning August Strindberg - Viveka Kjellmer (University of Gothenburg, Sweden) Section 5: Costume and its Collaborative Work 5.1. Building Costumes, Building Language in the Costume Workshop - Madeline Taylor (Queensland University of Technology and University of Melbourne, Australia) 5.2. Fitting Threads: Embodied Conversations in the Costume Design Process - Suzanne Osmond (National Institute of Dramatic Art in Sydney, Australia) Snapshots 5.3. Haptic Descriptions – Costume Design by Gillian Gallow and April Viczko - Natalie Rewa (Queen’s University, Canada) 5.4. The Costume Designer´s ‘Golden List’ of Competence - Christina Lindgren (Oslo National Academy of the Arts (KHiO), Norway) Section 6: Costume and Social Impact 6.1. Exploring Rossini’s Berta: Young Audiences and the Agency of Opera Costume - Sofia Pantouvaki (Aalto University, Finland) 6.2. Designing Hospital Clown Costumes: Psychological and Social Benefits for Finnish Children’s Healthcare - Merja Väisänen (Aalto University, Finland) 6.3. Costume of Conflict - Mateja Fajt (independent costume designer and researcher, Slovenia) Snapshots 6.4. From Effect to Affect: the Costumed Body and the Autistic Child - Melissa Trimingham (University of Kent, UK) 6.5. ‘Designing Tsunami’: Costume Evolution from Documentary to Surrealist - Michiko Kitayama Skinner (University of Miami, USA) 6.6. The Collaborative Process of Costume Creation: Travesties in São Paulo - Fausto Viana (São Paulo University (USP), Brazil)

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Book SynopsisPoisoned cigars, seductive apparitions, minds and empires in the last of their decline and the most notorious kiss in dramatic history decadent plays challenged the moral as much as the dramatic imagination of their own day, and continue to probe horizons of taste and the possibilities of stagecraft. In the late 19th and early 20th centuries, many writers reacted to urban modernity by embracing decadent themes and styles, and dramatists were no exception. Decadence offered these writers a framework for exploring nonconformist identities and beliefs that challenged behavioural norms as much as the desirability of modern progress. Decadent plays were at once behind the times in their celebration of antiquity, and forward-thinking in their staging of themes that have become all the more timely in the 21st century, including queerness, unconventional eroticism, and critiques of empire and industrial progress. Equally, the diversity of decadent drama cannot be pigeon-Table of ContentsAcknowledgements Introduction - Adam Alston and Jane Desmarais Empire and the Ancient World Oscar Wilde, Salome (1891) Michael Field, The Race of Leaves (1901) Lesya Ukrainka, The Orgy: A Dramatic Poem (1913), trans. Vera Rich Oblivion and the Occult Rachilde, Madame La Mort (1891), trans. Kiki Gounaridou and Frazer Lively Remy de Gourmont, Lilith (1892), trans. Dan Rebellato Jean Lorrain, Ennoïa: A Triptych(1906), trans. Jennifer Higgins Leonid Andreyev, The Black Maskers (1908), trans. Clarence L. Meader & Fred Newton Scott Eroticism and Idolatry Gabriele D’Annunzio, La Gioconda (1898), trans. Arthur Symons Maurice Maeterlinck, Ardiane and Barbe Bleue or, The Useless Deliverance (1899), trans. Bernard Miall Izumi Kyoka, Kerria Japonica (1923), trans. M. Cody Poulton Djuna Barnes, The Dove (1923)

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Book SynopsisHow many hit musicals are based on films that were shot in two days at a budget of $30,000? The answer is one: Little Shop of Horrors. Roger Corman''s monster movie opened in 1960, played the midnight circuit, and then disappeared from view. Two decades later, Little Shop of Horrors opened Off-Broadway and became a surprise success. Attack of the Monster Musical: A Cultural History of Little Shop of Horrors chronicles this unlikely phenomenon. The Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. ATrade ReviewMeticulously researched … really gets to the heart of what made this production tick. * Broadway World UK *Adam Abraham writes in breathtaking detail about the making of Little Shop of Horrors, the enduring and beloved musical that launched the careers of Howard Ashman and Alan Menken – two immortals who lit up the skies. * Albert Poland, Author of STAGES – A Theater Memoir *It's a must-read for any fan of musical theater, horror, or horticulture. * Town & Country *Insightful, detailed, and just a purely fantastic read. * Everything Theatre *"Full of wonderful details, little-known facts, and great storytelling, this is the amazing history of the little film that became the musical that ate the world! It brought back so many memories of the show that changed my life." * Lee Wilkof, star of the original cast of Little Shop of Horrors *Table of Contents1 Skid Row: From Roger Corman’s Hollywood to Off-Off-Broadway 2 Adaptation: How to Make a Nightmare Sing 3 Opening the Shop: Designers, Auditions, Rehearsals 4 A Monster Hit: The Off-Broadway Production 5 It Conquered the World: New York to London and Beyond 6 Audrey III: Cinematic Dreams and Disillusionment 7 We’ll Have Tomorrow: The Curious Afterlives of a Man-Eating Musical

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Book SynopsisRobert Marsden is an experienced theatre director and theatre academic, currently Head of the Media and Performance Department at Staffordshire University, UK. As a director, he has worked across subsidised and commercial sectors since 1999 and has taught directing, acting and theatre making in universities and drama schools since 2001. He has published articles in journals for Palgrave, as well as in trade papers from The Stage to Drama and Theatre magazine amongst others, and is the author of Inside the Rehearsal Room (2022).

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Book SynopsisThe theatre director is one of the most critical roles in a successful drama company, yet there are no formal qualifications required for entry into this profession. This practical guide for emerging theatre directors answers all the key questions from the very beginning of your career to key stages as you establish your credentials and get professionally recognized. It analyzes the director''s role through relationships with the actors, author, designer, production manager and creative teams and provides vital advice for on-the-job situations where professional experience is invaluable. The book also provides an overview of the many approaches to acting methodology without focusing on any in particular to allow the director to develop their own unique methods of working with any actor''s style. Each chapter includes these key features:* Introduces important theories, identifies practitioners and provides key reading to provide an overview of historic and current practice. * InterviewTrade Review[...] with plenty of practical exercises, useful advice and information alongside practitioner interviews. * The Stage *[...] the interviews in the book are extremely informative...This handbook will be useful for KS5 students and will certainly support exam units which focus on directing...Swain is to be congratulated for attempting to treat would-be directors with respect. -- Paul Willcocks * Teaching Drama *

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Book Synopsis1988: at four-years-old, he short-circuited his home with a silver spoon and a Betamax video player. 1989: stopped a 700-strong student assembly with a tantrum. 1995: was chased through jungle growth by a crazed, frustrated French teacher called Monsieur Batcock...Misfit? Apparently – until a little family research reveals a pattern of mischief reaching as far back as a great grandfather, and so the story begins: I'm from a long line of trouble makers, of ash skinned Africans, born with clenched fists and a natural thirst for battle only quenched by breast milk. They'd suckle as if the white silk sliding between gums were liquid peace treaties from mums. The 14th Tale is a beautiful mellifluous narrative that tells the hilarious exploits of a natural born mischief, growing from the clay streets of Nigeria to rooftops in Dublin and finally to London by award-winning writer and performer Inua Ellams.Trade ReviewA sharp reminder of the power of language and rhythm" The Scotsman; "original, experimental, beautiful * Culture Wars *Inua Ellams captures our attention as soon as he opens his mouth * The Times *

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Book SynopsisThe Sunday Times BestsellerThis is the inside story of twelve years at the helm of Britain’s greatest theatre.It is a story of lunatic failures and spectacular successes such as The History Boys, War Horse and One Man, Two Guvnors; of opening the doors of the National Theatre to a broader audience than ever before, and changing the public’s perception of what theatre is for. It is about probing Shakespeare from every angle and reinventing the classics. About fostering new talent and directing some of the most celebrated actors of our times. Its cast includes the likes of Alan Bennett, Maggie Smith, Mike Leigh, Daniel Day-Lewis, Michael Gambon and Helen Mirren. Intimate, candid and insightful, Balancing Acts is a passionate exploration of the art and alchemy of making theatre.Trade ReviewA tremendous book about life in the theatre — and theatre, and life. Honest, shrewd and heartfelt. A classic of its kind. -- William BoydWitty, waspish, and extraordinarily wise, it comes as no surprise to discover that Nick Hytner is every bit as good a writer as he is a director. Part fascinating memoir, part brilliant guidebook, Balancing Acts is also a record of how one man challenged and changed the way theatre is perceived in the UK, and with a few brilliant strokes – £10 tickets, live cinema broadcasts, and a dazzlingly inventive and brilliant repertory – created the first great theatre of the twenty-first century. For his description of what went into that quiet revolution, and for many other reasons, this wonderful book is essential reading. -- Sam MendesAs the record of a great theatre dealing fully and richly with the past and finding new ways of holding a glass up to the present, it’s incomparably interesting... This book is immensely readable, full of vivid anecdotes, and rich with an intimate understanding of drama both classic and modern. I loved it, and I’m sure it will do very well. -- Philip PullmanNicholas Hytner gives a riveting account of his time at the National Theatre. “Nothing makes me happier” he writes “than to throw a party and sit on the edge of it.” It was a party, often a triumphant one, but he was at the heart of it. As was someone else: Shakespeare, about whom he writes superbly. Speaking for myself I’ve never had so much fun as working with Nicholas Hytner. This lovely book explains why. -- Alan BennettWitty and entertaining, [Hytner] has an ability to be serious without being portentous, and he’s able to tell a good story … Balancing Acts is both history and illumination … You don’t have to be interested in theatre or even in culture to enjoy this book … But if you do happen to be interested in one of the few organisations in Britain that actually achieves what it’s supposed to … then you’ll be delighted. What’s more, in the account of Hytner’s directing at least six Shakespeare plays … you’ll find yourself given a masterclass. -- Richard Eyre * Evening Standard *

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Book SynopsisAn ingenious and charming quiz book, inspired by the plays of the inimitable William Shakespeare.

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Book SynopsisThis comprehensive, easy-to-use guide contains everything you need to plan and deliver effective drama sessions, get the best out of your participants, and develop an empowering leadership style that works for you. Drawing on over fifteen years' experience of running workshops – including for the National Theatre, The Old Vic, Barbican, Battersea Arts Centre and National Youth Theatre – Linden Walcott-Burton takes you through everything you need to know, with essential advice on: Your Workshop: How to plan and structure a successful session; how to deliver it effectively, whether in-person or online; how to devise and run an entire course. Your Group: How to motivate and get the best out of your group; how to encourage positive behaviours and manage challenging ones; how to adapt to different groups and needs; how to give and receive feedback. Yourself as a Workshop Leader: How to empower yourself by owning the space and maintaining boundaries; how to use your voice (and not lose it); how to harness the power of humour and fun. Packed with tips and techniques that work with any setting and age group, whether you're running a short session or a longer course, the book also provides specific guidance on delivering workshops in schools, working with disabled people and those with learning disabilities, and safeguarding when working with children and young people. There's also advice on co-facilitating, working with assistants and finding work. Organised in handy, bite-sized chunks allowing you to find just what you need, the book also includes sample workshop plans and content, with additional insights and examples of best practice from many other leading practitioners in the field. Whether you're just starting out and want to learn the basics, or you're a seasoned facilitator looking for fresh ideas, The Drama Workshop Leader is the resource you need to deliver a great session in any room you walk into, no matter what's thrown your way. 'Every practitioner, no matter their level of experience, will gain so much from this book' Jackie Tait, Primary Programme Manager, National Theatre LearningTrade Review'Practical and accessible... Warmly recommended to anyone who has to manage groups for educational purposes' * Ink Pellet Magazine *'An excellent guide for anyone wanting to run and develop workshops... Linden's approach is not only thorough, but very caring. Whether you are experienced as a workshop leader or not, I think you'd be hard pressed not to learn something from this book making your experience, and that of your students, better... A very detailed book. Every aspect of leading a workshop is covered... A reflection of his evident expertise and it could help you to be a great facilitator too' * Drama & Theatre Magazine *

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Book SynopsisA practical guide to creating and producing verbatim theatre, by an experienced theatre-maker and practitioner. Verbatim theatre is fashioned from words actually spoken by real people in real situations, and reproduced by actors in performance. An increasingly influential form of theatre, it has a unique ability to present stories from unfamiliar sources and bring unheard voices to the stage. Verbatim theatre is perhaps the most objective way of dramatising real life; its authenticity helps audiences to understand the world we live in, whether through testimony, eye-witness accounts or autobiography. Telling the Truth offers a step-by-step breakdown of the entire process of making your own verbatim-theatre production, covering everything you need to consider, including: Choosing your subject Preparing and conducting your interviews Refining your research into a single narrative strand Editing your material sensitively and ethically Providing your actors with exercises, techniques and advice to allow them to perform as `real' people Designing and staging your work for fully realised, physical performance In Telling the Truth, Robin Belfield draws on his own experiences of creating verbatim-theatre work, and interviews other major directors, writers and actors including Alecky Blythe, Patrick Sandford, Hilary Maclean and ACH Smith, providing tips and advice to help you make the most of every part of the verbatim-theatre process. An essential how-to guide for theatre-makers, artists, students and teachers who want to create their own verbatim-theatre production, Telling the Truth is also a fascinating read for those interested in the processes and inspirations that created the productions they love.Trade Review'A really informative read… full of resources, insights and clever ideas for writing, acting, staging and designing' * Word Matters (Journal of the Society of Teachers of Speech and Drama) *'Robin Belfield’s excellent book is a good primer for those wanting to create their own verbatim theatre production. Its theory is clear and easy to navigate... verbatim theatre is certainly worth exploring in the classroom and this book should be by your side as you do' * Ink Pellet *

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Book SynopsisA highly practical, comprehensive guide to exploring Shakespeare with young people – ideal for directors, youth theatre leaders, workshop facilitators and teachers. Experienced teacher, actor and director Max Hafler tackles the myths that Shakespeare's work is like a foreign country, not for the faint-hearted, or only for a privileged few. In this book, he shows how you can embrace the challenges of doing Shakespeare with young people, and make the plays accessible and exciting for all. Beginning with a series of workshops that introduce the skills and principles of voice and acting, he sets out, step by step, how to use devising, develop short scenes, explore soliloquies, and unlock the themes, characters, stories and language of the plays. The holistic approach includes dozens of exercises – many inspired by Michael Chekhov's innovative technique – which will help young actors explore their voice, imagination and body, and lead to performances that are richer, focused and more fulfilling. There is also useful advice on preparing for a production, editing and transposing the text, rehearsing scenes, and fostering an ensemble. Above all, this book will equip you to engage and empower young people, and to help them discover for themselves the joy of working with Shakespeare. Praise for Max Hafler's Teaching Voice: Workshops for Young Performers: ‘A useful book for teachers, youth theatre leaders, facilitators and indeed anyone who works with young people… plenty of exercises, warm-ups and advice about how to use the techniques in the rehearsal room’ The Stage ‘Through years of experience, Hafler has developed a great understanding of what can work with teenagers and shares it generously with those who work in the field’ Word Matters (Journal of the Society of Teachers of Speech and Drama) ‘It is clear that the original, imaginative and fun exercises that are found within this book have been thoughtfully put together by someone who has a wealth of experience in his field and that each session has been successfully tried and tested with his own students’ Drama Magazine ‘A must-own… full of exercises and advice to explore’ Teaching DramaTrade Review'There are some real nuggets of good practice here… the book is laid out clearly, making it easy to find ideas and techniques that are well explained… It is very clear that Max Hafler knows his stuff and he writes with a confidence that makes the reader feel that these ideas are worth trying' * Drama & Theatre Magazine *'This book makes you want to get up and do what it describes while you are reading it… it's suitable for session leaders who haven't tackled this kind of work before, but there is plenty of useful information and advice for more experienced teachers and directors as well… I will certainly be going back to it' * British Theatre Guide *'A very practical book which will be an inspiring influence on teachers of Shakespeare for young people' * Word Matters (Journal of the Society of Teachers of Speech and Drama) *

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Book SynopsisA top-ranking director sets out his rehearsal techniques in this invaluable handbook for actors and directors. Mike Alfreds' Different Every Night is the culmination of a lifetime of work in the theatre, the most complete rehearsal methodology in print since Stanislavsky. It offers a vital masterclass for actors and directors, full of sound practical advice and guidance, and is packed with techniques for bringing the text to life and keeping it alive - both in rehearsal and performance. 'Most of what I am as an actress I owe to Mike Alfreds. He gave me the language and the tools I needed for my craft' Pam Ferris, from her Foreword 'If I was allowed to train again to be an actor, but I was only allowed one teacher, it would have to be Mike Alfreds. To me he is a genius when it comes to acting and storytelling' Mark RylanceTrade Review'An illuminating and inspiring book... based in rich experience and acute observation of actors at work (and play)... essential reading for actors and directors' * Rogues & Vagabonds *

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Book SynopsisWhat is artistic resonance and how can it be linked to one''s life and one''s art? This latest book of essays from legendary theatre director Anne Bogart, considers the creation of resonance in the artistic endeavour, with a focus on the performing arts. The word ''resonance'' comes from the Latin meaning to ''re-sound'' or ''sound together''. From music to physics, resonance is a common thread that evokes a response and, in general, is understood as a quality that makes something personally meaningful and valuable.For Bogart, curiosity is a key personal quality to be nurtured throughout life and that very same curiosity, as an artist, thinker and human being. Creating pathways between performance theory, art history, neuroscience, music, architecture and the visual arts, and consistently forging new thought-paths, the writing draws upon Anne Bogart''s own life and artistic journeys to illuminate potent philosophical ideas. Woven with personal anecdotes, stories and reflections,Trade ReviewThis optimistic and brilliantly erudite book is essential reading for any serious theatre maker emerging from the pandemic in search of a new road map for theatre practice. Beautiful, fierce and inspiring - a love letter to the future. * Katie Mitchell, director *

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Book SynopsisA practical, hands-on guide - for actors, directors, teachers and students - to Brecht's theory and practice of theatre, with a full set of exercises to help put theory into practice. The Complete Brecht Toolkit examines, one by one, Brecht's many, sometimes contradictory ideas about theatre - and how he put them into practice. Here are explanations of all the famous key terms, such as Alienation Effect, Epic Theatre and Gestus, as well as many others which go to make up what we think of as 'Brechtian theatre'. The book also explores the practical application of these theories in Acting, Language, Music, Design and Direction. Also included are fifty exercises contributed by Julian Jones, to help student actors investigate Brecht's ideas for themselves, becoming thoroughly familiar with the tools in the Brecht toolkit.Trade Review'a useful, refreshing, no-nonsense introduction to a practitioner who can be contradictory and is often misunderstood' * The Stage *'[a] major and brilliant achievement... exemplary clarity and concision... honour[s] the complexity of Brecht while providing a valuable addition to the literature aimed at exploring and explaining this key figure. I highly recommend this book to you' * Drama magazine *'a thorough yet crystal clear explanation of Brecht's more complicated techniques and ideas' * Teaching Drama Magazine *'one of the best introductory books on Brecht currently in circulation... Unwin [presents] the theoretical and practical ideas of Bertolt Brecht in a clear, concise and connected way so that students and practitioners may consider the importance of his work in the twenty-first century.' * A Younger Theatre *

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Book SynopsisA dip-in, flick-through, quick-fire resource book in the Nick Hern Books Drama Games series, this title is for teachers and workshop leaders working with difficult or reluctant students, youth groups, young offenders, and all those who seem intent on saying 'no' to whatever is offered them. 'This book offers invaluable ways for artists, teachers, workshop leaders and activists to better use the arts to empower young people' Ken Livingstone, from his Foreword. For these groups, drama games and activities need to be robust and engaging, and the dozens that appear in this book have been devised with this in mind - and then tested by their target players. Each page features clear instructions on How to Play, notes on the Benefits of the Game, and advice on age range, number of players and timing. Following the ninety games and exercises aimed at developing core skills, the book offers scenarios for a series of improvisational challenges that test participants' abilities in mediation, communication, negotiation, assertiveness and managing emotions. Also included is a collection of games aimed at preparing teachers and workshop leaders for facilitating challenging sessions. The ultimate aim is to encourage reluctant participants to engage, collaborate and develop not just skills for drama but skills for life.Trade Review'Packed to the brim with bright and breezy ideas - a bargain!' * Total Theatre Magazine *'Each section of the book is well laid out and the games are clearly explained... contains some very interesting exercises' * Youth Drama Ireland *

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Book SynopsisA brilliant biography of the young Orson Welles, from his prodigious childhood and youth, his triumphs with the Mercury Theatre, to the making of Citizen Kane. Vivid, vastly entertaining, this is the definitive Welles biography.Trade ReviewA book of titanic achievement * Daily Telegraph *Simon Callow's brilliant account of the early years is the best Welles book yet -- David HareCallow is not just that rare phenomenon, an actor who can write. He is a superb biographer. His description of the making of Kane is masterly... This is an extraordinary book with extraordinary insights -- Godfrey Hodson * Independent *A knock-down, brass-bound, copper-bottomed triumph...tremendous fun to read... It is Simon Callow's triumph that at the end of this book Orson Welles comes before us just as Oscar Wilde did at the end of Richard Ellmann's superb biography -- Keith Baxter * Daily Telegraph *Welles might seem a difficult subject for a new biography. The legend is already pretty much written in stone. Callow's achievement is threefold: he embraces his subject with such gallumphing energy that the extraordinary power of his subject is conveyed as if for the first, fascinating time; he attempts a sober reassessment, trying to get an honest measure of someone who seemed larger than life...and he provides a genuinely interesting actor's view of the actor -- Nigella Lawson * The Times *

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Book SynopsisThe true story of a self-taught sleuth's quest to prove his eye-opening theory about the source of the world's most famous plays, taking readers inside the vibrant era of Elizabethan England as well as the contemporary scene of Shakespeare scholars and obsessives.What if Shakespeare wrote Shakespeare . . . but someone else wrote him first? Acclaimed author of The Map Thief, Michael Blanding presents the twinning narratives of renegade scholar Dennis McCarthy and Elizabethan courtier Sir Thomas North. Unlike those who believe someone else secretly wrote Shakespeare, McCarthy argues that Shakespeare wrote the plays, but he adapted them from source plays written by North decades before.In Shakespeare's Shadow alternates between the enigmatic life of North, the intrigues of the Tudor court, the rivalries of English Renaissance theater, and academic outsider McCarthy's attempts to air his provocative ideas in the clubby world of Shakespearean scholarship. Through it all, Blanding employs his keen journalistic eye to craft a captivating drama, upending our understanding of the beloved playwright and his 'singular genius.'Winner of the 2021 International Book Award in Narrative Non-Fiction

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From well-known auteur of the American theatre scene, Anne Bogart, And Then, You Act is a fascinating and accessible book about directing theatre, acting and the collaborative creative process.Writing clearly and passionately, Bogart speaks to a wide audience, from undergraduates to practitioners, and makes an invaluable contribution to the field tackling themes such as: intentionality inspiration why theatre matters. Following on from her successful book A Director Prepares, which has become a key text for teaching directing classes, And Then, You Act is an essential practitioner and student resource.

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Book SynopsisI''m an award-winning business woman. I''m happily married with two beautiful daughters and I still fit in the same size-ten dress suit I did fifteen years ago. What could possibly threaten me?Linda Wilde has dedicated her life to changing the world. She''s won awards for her efforts, at the same time as working hard to become an inspiring mother, and an independent, loving wife.Now, at 55, she seems to have it all. She''s a woman in her prime. She''s embarking on her most ambitious plan to date. Beneath the surface, though, the cracks are starting to show.Linda by Penelope Skinner premiered at the Royal Court Theatre, London, in November 2015.

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Book SynopsisIntimacy Directing for Theatre provides much needed strategies on how teachers and artists can do intimacy work in the classroom and rehearsal room that is safe and just.This book puts forth intimacy work that is based on human rights and consent for everyone, fully integrating justice with intimacy directing. It offers practical advice on how instructors can do intimacy work in their courses and productions that is based on consent and racial and gender justice. Each chapter is written by an instructor and professional practitioner who offers their perspective and experience on how to cultivate a space that is safe and intersectional, as well as respectful of students' race, gender, sexual orientation, and other integral modes of identity. Chapters contain low stakes exercises that help to keep the rehearsal room safe, consensual, and inclusive.Intimacy Directing for Theatre is an excellent resource for Theatre & Performance instructors and practiTable of Contents1. Introduction 2. From Director to Director: Why Intimacy Direction Is a Necessity 3. Definitions 4. Intimacy Directing, Race, and Human Rights 5. What the Student of Color Actor Needs in Intimacy Work 6. You Can’t Colorblind Choreograph: The Importance of Cultural Competency in Intimacy Practice 7. Genderqueer Intimacy 8. Consent Culture & Devised Work 9. Staging Violence & Theatrical Intimacy 10. Actor Training and Consent in the Movement Classroom 11. Virtual Intimacy Directing and Consent 12. Do’s and Don’ts of Intimacy and Consent 13. Building a Future of Justice & Consent 14. Bibliography and Resources

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