Theatre direction and production Books

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

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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 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 SynopsisWinner of the 2021 Music & Drama Education Award for Outstanding Drama Education Resource Much of the theatre we make starts with a script and a story given to us by someone else. But what happens when we''re required to start from scratch? How do we begin to make theatre using our own ideas, our own perspective, our own stories? A Beginner's Guide to Devising Theatre, written by the artistic directors of the award-winning young people's performance company Junction 25 and is aimed at those new to devising or wanting to further develop their skills. It explores creative ways to create original theatre from a contemporary stimulus. It offers a structure within which to approach the creative process, including ideas on finding a starting point, generating material, composition and design; it offers practical ideas for use in rehearsal; and it presents grounding in terminology that will support a confident and informed approach to production. The book features contributioTrade Review[A] useful, practical book ... The emphasis, throughout, is on collaboration - an essential life skill ... This book demonstrates just how much drama can contribute to educational development. Any young person who comes successfully through this process will be equipped for almost anything. * Ink Pellet *The introduction chapters are so uplifting, motivating and stimulating that it creates a real buzz for devising … A selling point for this book is that it is not exclusively written for the perspective of teachers; any KS4/5 student would be able to pick up and understand the processes suggested. I like the fact that giving full ownership to students’ creative process would not be a daunting task with this book at the helm. * Drama Magazine *Not just one of the best things I've seen in Edinburgh this year, but one of the best pieces I've seen anywhere - tender, true and brutally honest * Lyn Gardner on Junction 25 *Junction 25 youth theatre company, steered by directors Tashi Gore and Jess Thorpe, have been hailed as one of the finest in the UK, and it's not difficult to see why * Scotsman on Junction 25 *A Beginner's Guide to Devising Theatre offers exactly what it promises: a bean garden with plenty of other possible itinerary that can be rotated for a serious practical benefit. A guidebook to an empire whose many paths, detours and even dead ends are well known, but in such detail no one has ever mapped one of the possible paths to the center. * Theatron (Bloomsbury Translation) *Table of ContentsList of Illustrations Acknowledgements Foreword by Lyn Gardner Part One: An Introduction to devising theatre with young people An Introduction to Junction 25 Who is this book for? Why devise theatre? Beginning to collaborate Part Two: Devising theatre in seven stages An overview Stage 1: Building the group dynamic Stage 2: Selecting an inquiry question Stage 3: Finding the frame Stage 4: Making original material for performance · Writing text · Movement and choreography · Performance images · Action · Music Stage 5: Structure and composition Stage 6: Reflection Stage 7: Production: Sharing your work with an audience Part Three: Five interviews and one running order Interviews with companies that devise theatre; an introduction Interview about the process of devising All the Sex I’ve Ever Had by Mammalian Diving Reflex with Artistic Director Darren O’Donnell Interview about the process of devising Wallflower by Quarantine with Artistic Director Richard Gregory Interview about the process of devising Mission Drift by the TEAM with Artistic Director Rachel Chavkin Interview about the process of devising £¥€$ (LIES) by Ontroerend Goed with Artistic Director Alexander Devriendt Interview about the process of devising Trilogy by Nic Green with Artist Nic Green An example of a running order – ANOESIS by Junction 25 Index List of Contributors

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Book SynopsisScottee's work is often about outsiderness; race, sexuality, class, age and gender, creating spaces where the perceived underdog is celebrated. In 2010 Scottee won the title of Time Out Performer of the Year and in 2015 he was included on Independent's Rainbow List as one of Britain's most influential LGBTQI+ people.

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Book SynopsisExplores consent as a principle to guide practices and policies inuniversity level performing arts education. Describes structural powerdynamics present in educational spaces and tools for defusing them. Adapts the protocols foundational to intimacytraining to apply to classroom andrehearsal spaces across performing arts. 4 col., 4 b&w illus.

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Book SynopsisSome years ago, Frank Hauser, then a retired freelance director, and writer Russell Reich, his former student, self-published Notes on Directing in hardcover. It was immediately acclaimed as “a gem-witty and full of insight;” “so sensible, so complete, and so right;” and “amazingly illuminating” by the likes of Judi Dench, Edward Albee, and Terry Teachout. Gathered over Frank Hauser's long career, and polished to a sharp edge by Russell Reich, the 130 "Notes" address a wide range of topics, from understanding the script and defining the director's role, to casting, how to handle a first read-through of a script, rules for rehearsal, how to talk to actors, how to get a laugh, and the key elements of staging. Filled with enduring good advice expressed in assertive, no-nonsense language, and supported with explanatory commentary, insightful quotes and examples, and six valuable appendices, this deceptively slim book has the impact of a privileged apprenticeship, providing deep insight into the hidden process of creating a live, shared experience. For the student or professional engaged in a directing or acting career, the executive or manager looking for inspiring new ideas on leadership, or the arts lover wanting insight into the creative process, this book will be an invaluable experience. This new edition includes an interview with the co-author.Trade Review"This book is a gem witty and full of insight. It should be compulsory reading for every aspiring director." Dame Judi Dench"This book is so sensible, so straightforward, so complete, and so 'right' that somebody might think it was not serious. They would be wrong." Playwright Edward Albee, 3X Pulitzer Prize Winner"The next best thing to working with Frank Hauser is to read his book. His wise and pithy observations on acting and rehearsing don't age, reminding me how much I have learned from him." Sir Ian McKellen"Excellent bookI've dipped everywhere, always with profit and pleasure. Very attractive book, too." Sir Tom Stoppard"This book is filled with smart, useful, thoughtful advice, born of years of service to an elusive craft. How rare it is for two of our own to talk so shrewdly, candidly and succinctly about the process of making a production. I learned a lot from this remarkably straightforward book, and I debated with it. It is invaluable." Director Mark Lamos"It's a testament to the value of these modestly titled Notes that they go far beyond their wonderful applicability to the staging of a play or the creation of a film. This book will be a delightful read for nearly anybody, filled as it is with humor and life lessons, and the priceless insight of two keen observers of human behavior." Scenic Designer Robin Wagner, Multiple Tony Award Winner"Blunt, funny, utterly relevant, amazingly illuminating. I've never read anything that taught me more about the theater in so short a space . . . deserves to earn at least a million dollars, if not a Nobel Peace Prize." Terry Teachout, Drama Critic, The Wall Street Journal

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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 SynopsisScript Analysis for Theatre: Tools for Interpretation, Collaboration and Production provides theatre students and emerging theatre artists with the tools, skills and a shared language to analyze play scripts, communicate about them, and collaborate with others on stage productions. Based largely on concepts derived from Stanislavski''s system of acting and method acting, the book focuses on action - what characters do to each other in specific circumstances, times, and places - as the engine of every play. From this foundation, readers will learn to distinguish the big picture of a script, dissect and ''score'' smaller units and moment-to-moment action, and create individualized blueprints from which to collaborate on shaping the action in production from their perspectives as actors, directors, and designers. Script Analysis for Theatre offers a practical approach to script analysis for theatre production and is grounded in case studies of a range of the most stuTrade ReviewScript Analysis for Theatre provides excellent techniques developed over a lifetime of work with actors, directors, designers, in the classroom and on stage. The book is seasoned, smart and practical, equipping students with an essential toolbox for engaging with scripts. * Jim Volz, Professor of Theatre History at California State University at Fullerton, USA *I am deeply impressed by the precise way in which it fuses a broad theoretical understanding of drama with the practical analysis of texts, and have little but praise for it. I am very familiar with the range of existing script analysis texts, and this is one of the few I would consider assigning in full to an undergraduate script analysis class. * Art Borreca, Iowa Playwrights Workshop, Department of Theatre Arts, University of Iowa, USA *Table of ContentsPreface Acknowledgements Introduction 1 The World of the Play Given circumstances Previous action Dramaturgy The writing of the play and order of scenes Character Environment 2 Structure and Action Point of attack Number of scenes Number of locations Number of characters Number of plots Type of causality Actions and objectives 3 Process Core action Avant-garde 4 Blueprints Given circumstances blueprint Character blueprint Relationship blueprint Structure blueprint Environment blueprint Appendices A. Action Verbs B. Sample Scores Select Bibliography Index Biographical

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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 SynopsisA comprehensive guide to every aspect of producing a show, from raising the money to creating a hit - now revised and updated. This unique guide – the first ‘how-to’ book of its kind on the subject – offers comprehensive, clear advice to anyone producing or selling a show, whatever the venue or scale. Packed full of insights and tricks of the trade, it will give you the inspiration and confidence you need – whether you are taking your first steps in the profession or simply want to know what it takes to get a show on the stage. Drawing on his own experience as a producer of theatre productions at every level – from university, via the fringe, to the West End – James Seabright takes you through each stage of the process: - Having an idea for a show or getting the rights to an existing one - Planning your budget and raising the money - Booking your venue or a tour - Marketing and selling the show effectively - Getting the production designed, rehearsed and onto the stage From the fundamental (dealing with contracts) to the frivolous (how to organise your first-night party), every aspect is explained with the help of illuminating examples. There is also a wide-ranging appendix and a companion website with downloadable contract templates, marketing packs and budget spreadsheets. ‘Essential reading for anyone contemplating a life in the theatre fast lane.’ Thelma Holt ‘A perfect handbook for beginners and a useful aide-memoire for those of us who’ve been at it for years.’ Nicholas Allott, Managing Director, Cameron Mackintosh Ltd 'At last, hundreds of students on arts management and administration courses have a comprehensive reference book. It proves a unique guide for anyone taking their first steps into the world of productions' Anthony Field, The Stage 'Yes! A good book on producing theatre, written by a successful theatre producer!...valuable insights on everything from the creative issues of coming up with the ideas and casting a show, through to tackling touring costs, insurance, marketing, PR and so forth...valuable information for anyone putting on a production of any scale in any setting.' Total TheatreTrade Review'At last, hundreds of students on arts management and administration courses have a comprehensive reference book. It proves a unique guide for anyone taking their first steps into the world of productions' -- Anthony Field * The Stage *'Yes! A good book on producing theatre, written by a successful theatre producer!...valuable insights on everything from the creative issues of coming up with the ideas and casting a show, through to tackling touring costs, insurance, marketing, PR and so forth...valuable information for anyone putting on a production of any scale in any setting' * Total Theatre *

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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 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 SynopsisFeaturing conversations with theatre makers in the US and UK during the first 8 months of the Covid-19 lockdown, this collection reveals the innovations in digital theatre as artists, companies and theatres had to adjust to the restrictions and formulate new ways of working and reaching audiences. Besides documenting in their own words the work that was generated, this book captures the artists'' dreams for a new post-Covid reality in which theatre is reimagined and issues of racial and economic injustice are addressed. With conversations grouped under 5 broad areas, a host of theatre makers candidly discuss the present and the future of theatre: * R/evolution: How should theatre evolve rather than re-set? What kind of field could this be, if the arts sector is to survive in the US and UK and if white supremacist, classist, ableist, and patriarchal structures are dismantled, and acts of regeneration and reformation occur? * What does theatre look like at the local and hyper-local leTrade ReviewAn invaluable documentation of the onset of the COVID-19 pandemic and its effects on theatre-makers across the US and UK. The book features excellent representation of different voices across various cultural and social demographics, as well as a range of theatre leaders. * La Bricoleuse *Table of ContentsIntroduction Caridad Svich A Poet Dreams: Three Earth Samples Tim Crouch 1 R/evolution Jessica Blank and Erik Jensen Michael Garcés James Graham Miranda Haymon Simeilia Hodge-Dallaway Tarek Iskander David Jubb Madeline Sayet Chris Thorpe Stephanie Ybarra 2 Local and Hyperlocal Naomi Alexander Ned Glasier Conrad Murray Elizabeth Newman Esther Richardson Dámaso Rodríguez Anthony Simpson-Pike Roy Alexander Weise Laurie Woolery 3 Virtuality Eleanor Bishop Jason Crouch Dante or Die: Daphna Attias and Terry O’Donovan Tim Etchells Morgan Green Peter J. Kuo Eve Leigh Walter Meierjohann Ralph Peña Marike Splint Tassos Stevens 4 Resistance and Faith Leila Buck Rachel Chavkin and Alexandra Lalonde Kia Corthron Kristoffer Diaz Soraya Nadia McDonald Gregory Mozgala Kaite O’Reilly Taylor Reynolds Roy Williams 5 Communion Hassan Abdulrazzak Tanuja Amarasuriya Suba Das Lauren Gunderson Philip Howard Jennifer Jackson Dan Rebellato Rajni Shah Jose Solís Note on the Author

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Book SynopsisInua Ellams was born in Nigeria and is an internationally touring poet, playwright, performer, graphic artist and designer. He is an ambassador for the Ministry of Stories and has published four books of poetry. His plays and stage adaptations include The 14th Tale (Edinburgh Festival Fringe, Fringe First winner), Barber Shop Chronicles (National Theatre) and Three Sisters (National Theatre). He is a Fellow of the Royal Society of Literature.Oladipo 'Dipo' Agboluaje is a British-Nigerian playwright and academic, born in London and educated in Britain and Nigeria. He studied Theatre Arts at the University of Benin, Nigeria, and later wrote a doctoral thesis at the Open University, UK, on West and South African drama. He won the Alfred Fagon prize for playwriting for his play Iya-lle and is a Fellow of the Royal Literary Fund, working in partnership with the University of East London, UK. He has written the commentary and notes to the Methuen Drama Student Edition of Inua Ellams's Barber Shop Chronicles (Bloomsbury, 2021).

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Book SynopsisThe perfect gift for all musical fans, this beautiful book gives readers an extraordinary inside look at In the Heights, Lin-Manuel Miranda''s breakout Broadway debut, written with Quiara Alegría Hudes, now a Hollywood blockbuster.''This book is a collective diary looking back and shining a spotlight on the people and moments that have nurtured the journey and evolution of the show for *checks notes* LITERALLY half of my life'' - Lin Manuel-MirandaIn 2008, In the Heights, a new musical from up-and-coming young artists, electrified Broadway. The show''s vibrant mix of Latin music and hip-hop captured life in Washington Heights, the Latino neighborhood in upper Manhattan. It won four Tony Awards and became an international hit, delighting audiences around the world. For the film version, director Jon M. Chu (Crazy Rich Asians) brought the story home, filming its spectacular dance numbers on location in WashTrade Review[An] exuberant, unique, and invaluable record of dynamic, brilliant, and soulful creativity. * Booklist (starred review) *The all-singing, all-dancing, feelgood film of the summer. * The Telegraph, film review *They don't make 'em like this any more. * The FT, film review *Lin-Manuel Miranda has done it again! Again! * New York Post, film review *

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Book SynopsisWhat is the role of a Director? Tyrannical dictator or creative persuader? Why does the audience matter when interpreting a play? How do you get the best out of actors and what do they expect from you? Directing for the Stage addresses the key questions surrounding this venerable and yet often invisible craft, offering practical guidance on the crucial moments of creating a stage production, including budgeting, auditions, rehearsals, opening night and beyond. From knotty discussions on Shakespeare, to when to call a coffee break, all aspects of the Director's art are examined, including the history and development of the stage Director; how to commission and original play or obtain rights for an existing work; how to timetable the production process - from concept to last night and an hour-by-hour guide to rehearsals and all major approaches.

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Book SynopsisThis clear, accessible guide to creating and putting on a solo show is packed with inspiring, practical advice for writers, actors, directors, and anyone who wants to know how solo shows are actually made. Written by two theatremakers with a wealth of experience in the field, it leads you through the whole process – from finding a subject you're passionate about, to developing your ideas and getting the script written, through to rewrites, rehearsals and getting your show on stage. It tackles key questions such as: What makes a 'good' solo show? How do I engage the audience? How should directors and writer-performers work together? And what's the best way of approaching a producer? There's also invaluable advice on looking after yourself, coping with anxieties, dealing with reviews, and taking your show to the Edinburgh Fringe. With practical exercises throughout to help you put everything into action, this book is an indispensable toolkit for making your solo show a reality. Lisa Carroll is a playwright, screenwriter and comedian, whose plays have been staged at Soho Theatre, the Arcola Theatre, and the Abbey Theatre, Dublin. Milly Thomas is an actor and writer whose plays have been staged at Theatre503, the Edinburgh Fringe, Soho Theatre, the West End's Trafalgar Studios and New York Theatre Workshop. Together, Lisa and Milly have taught regular solo-show workshops, including for training and creative organisation The Mono Box. The Compact Guides are pocket-sized introductions for actors and theatremakers, each tackling a key topic in a clear and comprehensive way. Written by industry professionals with extensive hands-on experience of their subject, they provide you with maximum information in minimum time.

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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 hands-on, step-by-step guide to directing plays – by one of Britain's leading theatre directors. Stephen Unwin has worked with hundreds of different actors in a multiplicity of different venues. He is the ideal author of a 'how to' guide to directing. As Unwin himself says: 'Directing plays is difficult. The aim of this book is to lay out what skills are needed, and to give some sense of how you might develop them. The emphasis is on the professional theatre, but the book is useful for directors in other contexts - amateur dramatics, university drama, school plays and so on. Directing is directing, wherever you do it.' Starting at the very beginning, Unwin takes us step by step through: * Choosing the play * Casting * Design * Rehearsal - Establishing Facts, Improvisation, Language, Character, Blocking, Using Specialists and so on * Running the Play * Putting it on the Stage * Opening NightTrade Review'So You Want to be a Theatre Director does exactly what it says on the cover. It is aimed primarily at the young would-be professional theatre director, though much of it will also be of interest to those working in the amateur sphere. The writing is clear and direct; the chapters are divided into conveniently headed sections... His [Unwin's] book is filled with wise insights. Any budding director who reads it will learn much about the pitfalls and challenges he or she is likely to face but will also, I'm sure, catch some of Unwin's enthusiasm for what he describes as being, at times, 'the best job you can imagine'' * Around the Globe *

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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 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 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 reason for the decline of Orson Welles''s career is a hotly debated issue, but decline it certainly did. When Citizen Kane, his first film, opened in 1941, Welles was universally acclaimed as the most audacious filmmaker alive. But instead of marking the beginning of a triumphant career in Hollywood, the film still regularly voted the greatest ever made proved to be an exception in Welles''s life and work. In 1947 Welles left America for Europe and lived for the best part of twenty years in self-imposed exile. Welles himself famously quipped ''I started at the top and worked my way down'' - the second volume of Simon Callow''s compelling biography tells the story of that complex and protracted descent from grace.Trade ReviewSimon Callow is to be commended for Hello Americans, as it is not only the best biography of Welles that we can possibly have, it is also one of the best biographies in any field I've read in years -- Sunday Express * Roger Lewis *The research is breathtaking. The book is bursting with details, references and anecdotes -- James Christopher * The Times *Hello Americans is full of witty asides...As a biographer, Callow is a match for his subject in terms of showmanship, but he has gifts of analysis that eluded Welles... enchanting -- Christopher Silvester * Sunday Times *There is here some of the most vivid and instructive writing on the craft of movie and stage acting I've ever read -- Philip French * Observer *This is a bitter-sweet book: we say goodbye to the very best of company but we also look forward to Callow bringing that company back to life in his third volume -- Tom Dewe Matthews * Independent on Sunday *

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

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Book SynopsisThe Intimacy Coordinator''s Guidebook: Specialties for Stage and Screen explores the role of the intimacy choreographer with an in-depth look at specializations that exist within the profession.With contributions by over 30 industry professionals, this book aims to bring awareness to a wide range of needs a project may have and how intimacy professionals use their cultural competency specialists in practice to create the most compelling storytelling. In Part One, the book addresses the scope of practice of an intimacy professional by discussing competency, finding your lens and tangential fields in the industry like fight directors, mental health coordinators and cultural competency specialists. Part Two covers specialties like working with minors, prosthetics, intimacy and disability, staging queer intimacy, working with fat actors, Black American intimacy, dance, working on scenes of trauma, sexual violence and non-consent, and BDSM. Between each chapter is a convers

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Book SynopsisThe Art of Collaboration explores the critical relationship between directors and stage managers; an essential guide for theatre professionals seeking to build strong creative partnerships, emphasising mutual respect, clear communication and shared goals.Through real-world examples, practical strategies and expert advice, it offers a framework that stimulates collaboration, enhances the rehearsal process and promotes a seamless production.Whether youâre a seasoned director, an aspiring stage manager or simply want to know more about how to navigate the production process, this book provides insight to the vital, often overlooked, role of teamwork in bringing performances to stage.

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Book SynopsisPerforming with Resilience provides essential guidance for performers, educators, and industry professionals on sustaining mental health in the demanding entertainment industry.The book explores the psychological, emotional, and physiological challenges artists face and presents evidence-based strategies, practical exercises, and industry best practices to promote resilience, safety, and well-being. Blending neuroscience, psychology, and lived experience, this book reveals how creativity and care can work together rather than against each other. It offers practical tools for emotional regulation, boundary-setting, and recovery, turning complex research into language that artists can use in auditions, rehearsals, classrooms, and everyday life. The book provides strategies to manage emotional intensity, stress, and burnout; tools for setting boundaries and ensuring psychological safety; and science-backed approaches to emotional regulation and nervous system support. It also advocates for safe mental health practices and systematic industry changes to support the well-being of the artistsUnlike existing books that focus solely on technique or psychological resilience, this book integrates real-world industry insights, cutting-edge research, and practical, actionable tools tailored for actors, directors, and all members of the creative process. This book is written for actors, directors, mental health coordinators, intimacy coordinators, acting coaches, and drama educators.For free resources and resilience tools, visit www.vancityic.com and follow @vancityic for daily practices that support mental health in artistic spaces.

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Book SynopsisMusical theatre students and performers are frequently asked to learn musical material in a short space of time; sight-read pieces in auditions; collaborate with accompanists; and communicate musically with peers, directors, music directors and choreographers. Many of these students and performers will have had no formal musical training. This book offers a series of lessons in music fundamentals, including theory, sight-singing and aural tests, giving readers the necessary skills to navigate music and all that is demanded of them, without having had a formal music training. It focuses on the skills required of the musical theatre performer and draws on musical theatre repertoire in order to connect theory with practice.Throughout the book, each musical concept is laid out clearly and simply with helpful hints and reminders. The author takes the reader back to basics to ensure full understanding of each area. As the concepts begin to build on one another, the format and process is keptTrade ReviewThere are not many books about music theory written specifically for musical theatre students. Most of those available focus strictly on the theory aspect, and not the aural skills aspect. This book not only incorporates theory, but also aural skills and composition, for a more robust musical experience that will hopefully foster more musicality in students of musical theatre. * Peter Purin, Oklahoma Baptist University *Table of ContentsChapter 1 – The staff, treble clef, pitches on the staff, solfege and sight-singing Chapter 2 – Rhythm – whole notes, half notes, quarter notes and eighth notes Chapter 3 – The piano keyboard, accidentals, whole and half steps, major scales Chapter 4 – The Circle of 5ths and major key signatures Review of chapters 1-4 and Performance Tips (Tempo) Chapter 5 – Intervals – seconds and thirds and phrase shapes Chapter 6 – Intervals – fourths, fifths, and octaves; Rhythm – sixteenth notes Chapter 7 – Intervals – sixths and sevenths; Rhythm – rests Chapter 8 – diminished and augmented intervals; Rhythm – syncopation Review of chapters 5-8 and Performance Tips (Musical Markings) Chapter 9 – Rhythm – ties, dotted notes, 2/4 and 3/4 time; Song Analysis Chapter 10 – Major triads; introduction to Bass Clef and the Grand Staff Chapter 11 – I, IV, V progression; chord tones and non-chord tones; Song Analysis Chapter 12 – Transpositions; Rhythm - triplets Review of chapters 9-12 and Performance Tips (Repeats, Endings and Codas) Chapter 13 – Minor, Diminished and Augmented triads; Cut-time; chromatic solfege Chapter 14 – I, vi, ii, V, I progression; harmonizing a melody Chapter 15 – Inversions of triads Chapter 16 – Progressions with inversions; choral analysis Review of chapters 13 -16 and Performance Tips (The Music Department) Chapter 17 – Dominant 7th chords; V of V chords; Suspended chords; Song Analysis Chapter 18 – Minor Key signatures and natural minor scales Chapter 19 – Harmonic minor scales and melodic minor scales: Song Analysis Chapter 20 – Minor Chord progressions; Song Analysis Review of chapters 17-20 and Performance Tips (Song Form) Chapter 21 – Major, Minor, Half-Diminished, and Diminished Seventh chords Chapter 22 – Compound time Chapter 23 – More compound time; Song Analysis Chapter 24 – Song Analysis; Orchestration

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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 SynopsisYou didn''t fancy it then?Fancy what?Getting in the taxi.No.Every story starts somewhere.It's the early hours of the morning and Danny's the last straggler at Laura's party. The flat's in a mess. And so are they. One more drink?David Eldridge (Market Boy, The Knot of the Heart, In Basildon) returns to the National Theatre with a sharp and astute two-hander that takes an intimate look at the first fragile moments of risking your heart and taking a chance. This tender and funny play received its world premiere at the National''s Dorfman Theatre in October 2017.Trade ReviewDavid Eldridge “has a wise parent's gift as a playwright. He loves his characters even when he doesn't like them”. * Guardian *Eldridge has always been the most muscular of writers * Lyn Gardner, The Guardian *...Eldridge is timely and bang up to date... * The Times *...there's no denying Eldridge's ambition... * Observer *Eldridge combines a hugely sympathetic sensibility with rare dramatic power. * Daily Telegraph *[Summer Begins] confirms Eldridge's impressive command of dialogue and character. * Evening Standard *Just such a heavenly piece of writing is the latest by David Eldridge * Daily Telegraph on Under the Blue Sky *a brave, prodigious and rewarding experience. * The Independent on Holy Warriors *Eldridge combines a hugely sympathetic sensibility with rare dramatic power, and one leaves this exceptional play rejoicing in his talent and impatient for his next. * Telegraph *What Eldridge captures well is the way people's emotions and desires are rarely in perfect synch...**** -- The Guardian...an astute and tender two-hander. -- The StageThough often very funny, the play is strung with emotional trip-wires - lines that send you sprawling. -- Natasha Tripney, The StageIt's the tentative (anti) romance for 21st century London life and it is, quite simply, magnificent...never less than utterly refreshing...***** -- The Evening StandardDavid Eldridge's gorgeous new play is a wry, funny and touching meditation on loneliness, that private shame of the singleton in the era of the dating app and of fraudulent boasting on social media. Written with a real depth of insight, humour, compassion and a keen sense of the ridiculous...***** -- The Independent

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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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