Theatre direction and production Books
Bloomsbury Publishing PLC Inside the Rehearsal Room
Book SynopsisShortlisted for the STR Theatre Book Prize 2023With an exclusive focus on text-based theatre-making, Inside the Rehearsal Room is both an instructional and conceptual examination of the rehearsal process. Drawing on professional practice and underpinned by theory, this book moves through each stage of rehearsals, considering the inter-connectivity between the actor, director, designers and the backstage team, and how the cumulative effect of the weeks in rehearsal influences the final production.The text also includes: - Auto-ethnographic and fully ethno-graphic case study approaches to different rehearsal rooms- Interviews with directors, actors, designers and actor trainers- A consideration of the ethics of the rehearsal room and material selected for production- Practical exercises on how to creatively read a text from an acting and directing perspectiveInformed by over 20 years of directing experience in the UK and Europe, Robert Marsden''s book offers a practical guiTable of Contents1. Introduction 2. The Rehearsal Process – An Historical Overview and Current Challenges and Opportunities 3. Documenting the Process – How have rehearsals been captured by directors, actors and academics. 4. Pre-rehearsal: Early Decisions. 5. The Rehearsal Room: First Steps. 6. The Rehearsal Room: Delving Deeper 7. The Rehearsal Room: Final Stages and the Emergence of the ‘Form’ 8. Technical and Dress: A Unification. 9. Previews and the Production Run: Choices and Impact of a ‘Live’ Medium. 10. Next Stages: How Should Rehearsal Rooms Operate in the 21st Century?
£21.84
Bloomsbury Publishing PLC Wigs Hair and MakeUp
Book SynopsisWritten by the former Deputy Head of Make-Up and Wigs at the National Theatre, this book opens up a process that very few people will otherwise be privy to, giving perspectives on the preparation before a production and responsibilities during, as well as looking more widely at training, career opportunities and success. It does so through drawing upon some of the most adventurous and challenging productions mounted at the National Theatre and elsewhere. From designing and fitting wigs to managing lighting-fast quick changes, hair, wigs and make-up people are a major part of the creation of any theatrical production. Yet their role and contribution are much less discussed and written about than elements such as writing, directing and acting, despite being critical to defining and executing the aesthetic of a production. Their involvement requires a great deal of research and creative thinking; collaboration with other members of the creative team; specific knowledge of wig-making and mTable of ContentsIntroduction Chapter 1: Design and Research Chapter 2: Making a Wig Chapter 3: Wig/Hairdressing Chapter 4: Make Up Chapter 5: Prosthetic and Stage Effects Chapter 6: Staging Chapter 7: Kit and Employability Conclusion
£9.99
Bloomsbury Publishing PLC The Art of Resonance
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 *
£18.99
Bloomsbury Publishing PLC Decadent Plays 18901930
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)
£28.49
Bloomsbury Publishing (UK) Research and Development in British Theatre
Book SynopsisTom Cantrell is a Professor of Theatre and Head of the School of Arts and Creative Technologies at the University of York, UK. He has published widely on acting processes, including Acting in Documentary Theatre (Palgrave 2013), Acting in British Television (Palgrave 2017) and Exploring Television Acting (Bloomsbury 2018), co-written with Christopher Hogg.Katherine Graham is a Senior Lecturer in Theatre at the University of York, UK, where her research focuses on the agency of materials in performance. She has also worked extensively as a lighting designer for theatre and dance and has published work about light in Theatre and Performance Design Journal, Studies in Theatre and Performance, and Contemporary Theatre Review. She is co-editor, with Kelli Zezulka and Scott Palmer, of Contemporary Performance Lighting: Experience, Creativity, Meaning (Bloomsbury 2023).Mark Love-Smith is a Senior Lecture
£22.79
Bloomsbury Publishing PLC Kneehigh Anthology Volume 1
Book SynopsisKneehigh now finds itself celebrated as one of the UK's most exciting theatre companies. This collection contains the performance texts of four of their highly acclaimed shows: Tristan & Yseult, The Bacchae, The Wooden Frock and The Red Shoes. With forewords from Emma Rice, Tom Morris, Anna Maria Murphy and Carl Grose, it offers a unique insight into Kneehigh's approach to making theatre, revealing how ascript can emerge from a collaborative devising process.Trade ReviewThe truly great theatre companies stand out by their ability to be distinctively themselves and yet make a succession of shows that are distinctively different. After an astonishing few years of creative frenzy, Kneehigh joins those ranks. * The Guardian *
£20.89
Bloomsbury Publishing PLC The Effect
Book SynopsisA Student Edition of Lucy Prebble''s acclaimed 2012 play, which looks at two people on a clinical drugs trial and investigates questions around sanity, neurology, physical attraction and the possibilities of medicine. The edition includes commentary and notes by Paulette Marty, which look at the context around depression and anti-depressant medication; as well as delving into major questions posed by the play, such as is love real? and what is chemistry when applied to human beings?. Her commentary also looks at the play in production, the implications of the playwright having written the roles for particular actors, and the opportunities that arise from the playwright encouraging future actors to mould the text around themselves.
£12.99
Bloomsbury Publishing (UK) A Beginners Guide to Directing Theatre
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).
£21.84
Bloomsbury Publishing PLC Best of Enemies
Book SynopsisWinner of the 2022 Critics'' Circle Award for Best New PlayNominated for the 2022 Olivier Award for Best New PlayA man should never turn down two things. Sex, and appearing on television.1968 a year of protest that divided America. As two men fight to become the next President, all eyes are on the battle between two others: the cunningly conservative William F. Buckley Jr., and the iconoclastic liberal Gore Vidal. Beliefs are challenged and slurs slung as these political idols feud nightly in a new television format, debating the moral landscape of a shattered nation. Little do they know they're about to open up a new frontier in American politics, and transform television news foreverBest of Enemies is the electric new play by James Graham (Quiz, Labour of Love), directed by Jeremy Herrin, inspired by the documentary by Morgan Neville and Robert Gordon.This revised and updated edition was published to coincide with the West End transfer to the Noel Coward Trade ReviewRushes at the audience like a newshound after a story. * Observer *James Graham's captivating drama is raw and timely. * The Times *Astoundingly Good. * Time Out London *These monumental moments in American history, along with other key moments of the time that explored in the play, could be a captivating starting point for students' work and allows a range of themes to be explored. * Drama and Theatre *
£13.10
Methuen Drama Dramaturgas Chilenas
a huge range and FREE tracked UK delivery on ALL orders.
£23.74
Bloomsbury Publishing PLC Directing a Handbook for Emerging Theatre
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 *
£21.84
Bloomsbury Publishing PLC Dramaturgy in the Making
Book SynopsisA thorough study of contemporary dramaturgical practices which draws on many examples from the work of leading theatre practitioners from the UK, Europe and North America. It maps the various ways in which a dramaturg may work in the theatre-making process and provides a theoretical framework to aid the reader in their own practice.Trade ReviewOne of the book’s strengths is that while it tells a story about the creative process from the dramaturg’s point of view, it also offers rare and detailed insight into the dramaturgy of creative rehearsal processes. The book is, therefore, also relevant to anyone who is interested in learning more about theatre, performance-making and creative working processes ... The detailed case studies alone make Dramaturgy in the Making a useful and interesting addition to the growing literature on dramaturgy. * Studies in Theatre and Performance *By introducing dramaturg Mira Rafalowicz’s four-stage concept (exploration of the field, creating and shaping the material, finding a shape, performance gains its own life), Trencs´enyi is able to paint a broad comparative picture of different Western practices while still structuring and contextualizing the multiple voices and trying to find and formulate patterns and threads that connect the practices ranging from text-based and devised theatre to dance dramaturgies. In this, the monograph offers an alternative to the often quite eclectic ways in which edited collections present accounts on rehearsal practices. -- Ann-Christine Simke * Theatre Research International *Dramaturgy in the Making first and foremost is a far-reaching book, with an international perspective and ambition ... This work is of an exemplary high quality, deep, and at the same time is infinitely useful and pragmatic. * Színház *Katalin Trencsényi's Dramaturgy in the Making is a welcome, wide-ranging discussion of dramaturgy, featuring historical overviews, geographic diversity, and contemporary case studies in both theatre and dance. It is refreshing and informative to have so many developmental processes described in detail and to hear the varying points of view about dramaturgy from core collaborators within the process. * DD Kugler, Simon Fraser University, Canada *Dramaturgy in the Making ... signals a generational shift. It assumes that for many answering the founding question – “What is dramaturgy?” – is no longer the central challenge for the field. It addresses instead a new and, for many of us, most welcome focus: exploring the rich range of practices found in the lives of individuals who have again and again demonstrated in their work as theatre artists why dramaturgy matters. * Geoff Proehl, University of Puget Sound in Tacoma, Washington, USA *[Trencsényi] has carried out richly informative interviews with a wide range of dramaturgs from across Europe and North America ... [The book's] real strength lies in its range of case studies, and the attention to the detail of specific production processes. * New Theatre Quarterly *[H]aving documentation of the challenges that a dramaturg will experience within the course of their work, and a litany of excellent and useful interviews that detail methods for overcoming those challenges, makes the chapters feel robust and readable, researched, and useful. … [T]he guidebook aspect of the text makes it appropriate and useful for undergraduates and emerging dramaturgs. * Theatre Topics *Table of ContentsAcknowledgements Foreword: The Roles We Play, by Geoff Proehl Preface PART ONE – Institutional Dramaturgy Chapter 1 – Institutional Dramaturgy – The Beginnings Chapter 2 – Methods: Curating Chapter 3 – Methods: Dramaturgy and Translation Chapter 4 – Methods: New Drama Development PART TWO - Production Dramaturgy Chapter 5 – Production Dramaturgy – A Theoretical Overview Chapter 6 – Methods: Product-led Production Dramaturgy Chapter 7 – Methods: Process-led Production Dramaturgy PART THREE – Dance Dramaturgy Chapter 8 – Dance Poetics – The History of Dramaturgical Thinking in Dance Chapter 9 – Dance Dramaturgy – The Development of the Role Chapter 10 – Methods: Dance Dramaturgs at Work Conclusion: Two Things about Dramaturgy Notes Select Bibliography Index
£26.59
Bloomsbury Publishing (UK) New Dramaturgy International Perspectives on Theory and Practice
Book SynopsisRecent shifts in the theatrical landscape have had corresponding implications for dramaturgy. The way we think about theatre and performance today has changed our approaches to theatre making and composition. Emerging new aesthetics and new areas of dramaturgical work such as live art, devised and physical theatre, experimental performance, and dance demand new approaches and sensibilities. New Dramaturgy: International Perspectives on Theory and Practice is the first book to explore new dramaturgy in depth, and considers how our thinking about dramaturgy and the role of the dramaturg has been transformed. Edited by Katalin Trencsényi and Bernadette Cochrane, New Dramaturgy: International Perspectives on Theory and Practice provides an unrivalled resource for practitioners, scholars, and students.
£82.50
Bloomsbury Publishing PLC Willy Russell Plays 2
Book SynopsisA new collection of plays from Willy Russell, one of Britain''s best-loved dramatists, features the smash hits Blood Brothers, Our Day Out: The Musical and Shirley Valentine as well as the previously unpublished John, Paul, George, Ringo . . . and Bert.Blood Brothers: A Liverpudlian West Side Story, this is the story of twin brothers separated at birth because their mother cannot afford to keep them both. ''One of those rare exceptions, where a show continues to pack a punch after many years on the road and in the West End'' - What''s On Stage, (5 stars)Our Day Out: The Musical: Mrs Kay''s ''Progress Class'' are unleashed for a day''s coach trip to Conway Castle in Wales - in an exuberant celebration of the joys and agonies of growing up and being footloose, fourteen and free from school. ''One of those truly magical theatrical experiences that should very definitely not be missed'' - StageShirley Valentine: The Table of ContentsIntroduction Blood Brothers Our Day Out: The Musical Shirley Valentine John, Paul, George, Ringo . . . and Bert
£20.89
The Crowood Press Ltd Improvisation: A Practical Guide
Book SynopsisImprovisation is a highly creative and collaborative art form, encompassing the skills of storytelling, character creation and stage presence all in the moment. However, with an array of styles and techniques to choose from, it can be hard for new practitioners to negotiate the moving parts and find their own individuality. In this practical guide, Artistic Director and improv expert Jason Moran explores the basic pillars of improvisation and explains how to practically apply these in an improvised scene, game or situation. Each chapter showcases a different pillar and offers a practical checklist to make each scene interesting and robust. This helpful book unpacks and analyses real-life improvised examples from the stage, rehearsal room and classroom, illustrating to the reader what works well and what could work better, making it essential reading for actors, presenters and anyone who wants to increase their confidence in public performances.
£18.00
Gemini Books Group Ltd The Pocket William Shakespeare
Book SynopsisAn ingenious and charming quiz book, inspired by the plays of the inimitable William Shakespeare.
£8.96
Nick Hern Books Running the Room: Conversations with Women
Book SynopsisOur most brilliant, fearless and creative women directors open the door on their craft, discussing their work in the theatre in intimate and illuminating detail. Through a series of fascinating conversations with many of the leading talents working on British stages, Running the Room explores what it takes to succeed in the field, and how each director approaches the work in their own way. Each interview focuses on a particular facet of the director's practice, examining not just the 'how' – how to talk to actors, how to create the right rehearsal environment, how to handle cuts and previews, how to work with a living playwright – but also the 'why': why certain approaches work better than others, why there's no 'right' way to direct a play, and why work in theatre anyway? As this passionate, inspiring book shows, there are myriad ways to be a theatre director. For aspiring or current directors, it will give you the confidence to be uniquely yourself, develop your own approach, and create the work you want to make. For creatives in other disciplines, it will provide insight into directors' processes, along with examples of successful collaboration. And for anyone who loves theatre, this is an unparalleled first-hand account of how brilliant theatre is made – direct from those making it. With contributions from: Natalie Abrahami • Annabel Arden • Milli Bhatia • Carrie Cracknell • Tinuke Craig • Marianne Elliott • Nadia Fall • Yaël Farber • Vicky Featherstone • Jamie Fletcher • Sarah Frankcom • Emma Frankland • Rebecca Frecknall • Debbie Hannan • Tamara Harvey • Natalie Ibu • Ola Ince • Lynette Linton • Nancy Medina • Katie Mitchell • Rachel O'Riordan • Emma Rice • Indhu Rubasingham • Jenny SealeyTrade Review'An excellent book' -- Lyn Gardner * The Stage *'A goldmine of insight on the multifarious art of directing, the skill of leadership, and the joys and challenges of constructing a career in theatre as a woman… the list of interviewees reads like a who’s who of influential directors… brims with fascinating discussions of creative practice, illuminating discourse on running buildings and companies, and thought-provoking comments on contemporary theatre' -- Fergus Morgan * The Crush Bar *'A candid, in-depth record of conversations about art and life... a source of inspiration... a lot of valuable material for budding directors and readers of all genders' * Broadway World *'A treasure trove of the various forms of practice when running a rehearsal room, but also allows a glimpse into who each interviewee is... a book of both reflection and passion... an absorbing read, accessible in its structure yet of use to professionals working in theatre' * LouReviews *
£11.69
Nick Hern Books The Drama Workshop Leader: A Practical Guide to
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 *
£15.29
Nick Hern Books Timberlake Wertenbaker's Our Country's Good: A
Book SynopsisPage to Stage series – highly accessible guides to the world's best-known plays, written by established theatre professionals to show how the plays come to life on the stage. 'Modern classic' was the fitting accolade bestowed on Timberlake Wertenbaker's Our Country's Good soon after its premiere in 1988 at the Royal Court Theatre, London. The play tells how a company of convicts staged George Farquhar's The Recruiting Officer in the early days of the Australian penal colony. Having directed the premiere, Max Stafford-Clark brings his own unrivalled insights to this in-depth study of how it actually works on stage. Sections include an introduction about the creation of the play, a discussion of its action moment by moment, the historical context, the characters and how the production was rehearsed and designed for its original production. The result is an invaluable and authoritative guide for anyone studying, teaching or performing the play.Trade Review'A very authoritative teaching and learning resource' * The Stage *'Absolutely fascinating... Even Timberlake Wertenbaker herself might struggle to analyse her writing any better' * British Theatre Guide *Table of ContentsMAX STAFFORD-CLARK established Joint Stock in 1974, ran the Royal Court Theatre 1979-93, and then set up the extremely successful touring theatre company, Out of Joint, which he continues to run. He is the author of Letters to George (also published by NHB), a rehearsal journal about his own staging of The Recruiting Officer.
£10.44
Nick Hern Books The Active Text: Unlocking Plays Through Physical
Book SynopsisMany theatre practitioners think of physical theatre as one thing and text-based theatre as another. In this book, Dymphna Callery, author of Through the Body: A Practical Guide to Physical Theatre, shows how exercises and rehearsal techniques associated with physical and devised theatre can be applied to scripted plays. Working ‘through the body’ enables performers to discover what really makes a play work. Drawing on key practitioners, including Jacques Lecoq, Joan Littlewood, Peter Brook and Simon McBurney, The Active Text offers a complete approach to working with a scripted play, leading the reader through a process of active exploration and experimentation that includes: Uncovering a play’s internal dynamics Using improvisation and theatre games Exploiting the languages of the body Getting inside the words that are spoken (as well as those that aren’t!) Discovering image structures Understanding the impact on the audience Throughout the book, the author draws on a core selection of well-known texts (from Sophocles and Shakespeare to Brecht, Arthur Miller, Steven Berkoff and Sarah Kane), showing how an active approach to text can challenge assumptions about even the most familiar of plays. Packed with theatre games, improvisation exercises and rehearsal techniques, The Active Text is an inspirational guide for performers, directors, students and teachers. It will revitalise work in the rehearsal room, workshop or classroom – anywhere that dramatic text needs to be brought to life.Trade Review'A wealth of ideas... clear and concise... an inspirational and a welcome resource for drama teachers. ... A final word of warning: reading this book can make you itch to start working on directing a play.' * Drama Magazine *'This book will have you dipping into it time and time again for its no-nonsense practical perspective' * DramaResource.com *'Fascinating stuff… thought-provoking… I am very taken with [it]' * The Stage *
£13.49
Nick Hern Books Drama Games for Rehearsals
Book Synopsis'I wish I'd had this book when I was starting out as a young director... I cannot recommend it highly enough' Marianne Elliott, from her Foreword This dip-in, flick-through, quick-fire resource book in the bestselling Drama Games series offers dozens of ideas and exercises to energise and inspire a bold, creative rehearsal process for any play, of any period or genre. Aimed at directors of all levels, it covers every aspect of rehearsal, including: Warm-up exercises to prepare the body, voice and mind, and to create a strong ensemble Ideas for approaching the text, tackling the 'Story of the Play' A wealth of games for unlocking the 'World of the Play', including developing characters, finding a physical style, understanding genre and investigating themes Suggestions for exploring sound and music, whether for use in the production or simply to encourage a sense of fun in rehearsals This essential 'go-to' book will provide you with a host of original and illuminating games, perfect for the play you're rehearsing, be it Shakespeare or Greek tragedy, a Restoration comedy, physical theatre, Modern Naturalism – or even a brand new play. Marianne Elliott, one of the most innovative and exciting directors working anywhere in the world, describes it as a 'beautiful, and very clearly written book' which will become her 'constant companion in future'.Trade Review'Bursting with ideas and content… there are lovely ideas here; professional, student friendly, good for flicking through the pages and choosing at random, or a more carefully structured process… will create happier groups and happier rehearsals' * National Drama *'Great fun… a "must have" for directors' * Word Matters (Journal of the Society of Teachers of Speech & Drama) *'This book is great for making the rehearsal room as active as it is cerebral; it will become as indispensable as its predecessors… intelligent and well-focused games... not just a manual, it's a good read full of anecdotes and witty asides. From the start we know that we are in the hands of an expert practitioner' * Teaching Drama Magazine *'Should prove invaluable to creative directors, writers and actors wishing to develop an ensemble approach... Swale's ideas provide working methods and creative approaches which will help anyone involved in developing a production, from the budding director to those working with experienced actors in the professional sector' * DramaResource.com *
£11.69
Nick Hern Books Telling the Truth: How to Make Verbatim Theatre
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 *
£13.49
Nick Hern Books Drama Games for Young Children
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) *
£13.49
Nick Hern Books What Country, Friends, Is This?: Directing
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) *
£13.49
Nick Hern Books Keeping It Active: A Practical Guide to Rhetoric
Book SynopsisEvery time you open your mouth on stage you are trying to persuade somebody of something. Sometimes referred to as 'the art of persuasion', rhetoric means using language to communicate your ideas and intentions to other people – and to make sure you are heard, understood and believed. This clear and concise guide explains how it works in plays, and how actors can use it to bring their performances to life on stage. Drawing on her decades of experience working with actors on major productions, including as Head of Voice at the National Theatre, Jeannette Nelson introduces all the major rhetorical techniques and devices that playwrights use. She offers fascinating breakdowns of dialogue and speeches from across the theatrical canon – from Shakespeare and Ibsen, to Tennessee Williams, Lorraine Hansberry and Arthur Miller, right up to contemporary playwrights such as Helen Edmundson and Tanika Gupta. Each chapter also includes a series of practical exercises which combine spoken word with physical action to help you explore and understand these techniques, and harness their power in performance. Whether you're an actor, a director or a drama teacher, Keeping It Active will empower you with a greater understanding of the ways that language underpins all dramatic works, and will give you the tools you need to unlock the text, understand characters, connect with the audience, and perform with greater confidence, focus and authenticity. 'As this excellent book outlines, rhetoric is everywhere. It's not simply in the parliament, the press conference and the court; it's in the workplace, the home and the family. There's no argument, classical or modern, in a play that isn't informed and helped by Jeannette's work' Josie Rourke, from her Foreword 'A great resource for actors and directors' Ralph Fiennes 'Jeannette Nelson's revelatory relationship to language is, quite simply, life-changing' Simon Godwin 'Jeannette taught me so much... I felt like I could persuade anybody to do anything' Sophie Okonedo
£13.49
Nick Hern Books Exploring Shakespeare: A Director's Notes from
Book Synopsis'Theatre is the greatest of collaborative art forms, and Shakespeare its greatest exponent: he used the form better than anyone else ever has to speak truth about the world.' In Exploring Shakespeare, acclaimed theatre director Bill Alexander takes us inside the rehearsal room to reveal – in unprecedented and captivating detail – exactly what happens there. He examines the key relationship between the actors and the director, how they work together to bring Shakespeare's vision to life, and how choices are made that will shape every aspect of the play in production. Full of acute observations and perceptions drawn from a long and brilliant career, the book covers the essential aspects of any Shakespeare production, from understanding the world of the play, to preparing and cutting the text, deciding on costumes and set design, handling soliloquies, and considering character and backstory. There are detailed studies of eight plays spanning the full length and breadth of the Shakespearean canon, from Titus Andronicus and The Shrew to The Tempest, via Othello, Hamlet, Lear, The Merchant of Venice and Twelfth Night. Alexander also provides first-hand case studies of three of his own productions, including his famous Richard III starring Antony Sher. Personal, forthright, and full of pragmatic advice, Exploring Shakespeare is a masterclass for directors and actors, and a fascinating insight for anyone interested in Shakespeare. Bill Alexander was an Associate Director of the Royal Shakespeare Company, and then Artistic Director of Birmingham Rep. His landmark productions include Richard III and The Merry Wives of Windsor (both Olivier Award-winners), The Merchant of Venice, The Taming of the Shrew, Titus Andronicus and King Lear with Corin Redgrave. 'Bill Alexander is a brilliant director, whose work has powerfully shaped my understanding of Shakespeare's plays, Richard III most of all' James Shapiro, author of 1599: A Year in the Life of William Shakespeare Trade Review'An accessible read, in absorbing detail, from someone who has seen it all. This is a personal perspective that will surely be of use to all who read it, and may well make you see your favourite Shakespeare play in quite a different light' * Broadway World *'A primer for the Shakespeare director, packed full of wisdom, pithily expressed… [This book] is a fine achievement – a necessary and timely one – and I cannot recommend it highly enough' * Stagetalk Magazine *'Insightful, practical and down to earth... Bill Alexander is a companionable writer to spend time with. He is never abstruse or over-academic. He simply wants us to understand how theatre can tell stories once it has negotiated the many text-driven decisions which have to be made on the way' * Ink Pellet Magazine *
£15.29
Nick Hern Books Taking Stock: The Theatre of Max Stafford-Clark
Book SynopsisInside accounts of the making of some of the most influential theatre productions of the last four decades. Max Stafford-Clark has been at the cutting edge of theatre in Britain for more than thirty years. Taking Stock draws on diaries, photos and interviews to recreate the evolution of nine of his most famous and influential productions: Fanshen by David Hare Epsom Downs by Howard Brenton Cloud Nine by Caryl Churchill Rita, Sue and Bob Too by Andrea Dunbar Serious Money by Caryl Churchill Our Country's Good by Timberlake Wertenbaker The Steward of Christendom by Sebastian Barry Some Explicit Polaroids by Mark Ravenhill Macbeth by William Shakespeare The result is one of the richest, most intimately informative books on the making of theatre.Trade Review'a rare opportunity to get inside the mind of one of British theatre's most original practitioners... a fascinating view of an incredibly diverse body of work' * British Theatre Guide *'a splendid portrait of the vicissitudes of the collective life' * Times Literary Supplement *'fascinating... By pioneering the workshop method of rehearsal, where actors and director all contribute ideas before sending the playwright off to pen the text, Stafford-Clark made a major innovation in the evolution of British drama... He also tells a good story' -- Aleks Sierz * Independent *'a terrific read... an absolute treasure trove of insights, tips, reminiscences and lessons in the 'process' of how a new play comes into the world' * Rogues and Vagabonds *
£13.49
Bloomsbury Publishing PLC Cock
Book SynopsisMike Barlett's debut, My Child (Royal Court, May 2007) saw him hailed by The Stage as 'one of the most exciting new talents to emerge in recent times'. He is a winner of the Old Vic New Voices Award for Artefacts (Bush Theatre). In 2009, his play Cock won the Olivier Award for Outstanding Achievement in an Affiliate Theatre, while Contractions was nominated for the TMA Best New Play award. Bartlett was Pearson Playwright in Residence at the Royal Court in 2007, and is currently Associate Playwright at Paines Plough. He has also written seven plays for the radio, including Not Talking for which he won the Writer's Guild Tinniswood and Imison prizes.Mark O'Thomas is Professor of Theatre & Performance at Newcastle University.Trade ReviewA smart, prickly and rewarding view of sexual and emotional confusion . . . The writing is lubricious, sometimes grubby and in places savagely unpleasant. But it has a wounding authenticity. We laugh nervously, aware of its precision. * Evening Standard *Mike Bartlett has proved a devastatingly astute observer of adults behaving badly and this latest work is no exception . . . He is mercilessly accurate, wickedly funny and strangely touching. * Financial Times *
£10.99
Nick Hern Books The Actor and the Target
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"
£15.29
Bloomsbury Publishing PLC My Shakespeare
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 striking pages with stills frTrade ReviewThis career retrospective, centred on the Folio, reflects Doran’s temperament: decent, diligent, likeable, lucid. It’s openly learned, plunging into a close reading of Romeo and Juliet’s prologue, but it’s also candid. -- Dominic Cavendish * The Telegraph *It has given me so much joy to read the story of Greg Doran's journey through these great plays. Fantastic, informative, revealing, occasionally gossipy and thoroughly engrossing, this is a remarkable memoir of a remarkable career. Greg Doran’s brilliance, clarity of thought and – most of all – his humanity shines through. * David Tennant *One of the distinctive achievements of Greg Doran’s recently concluded term as artistic director of the Royal Shakespeare Company was to direct all the plays in the First Folio, creating a deposit of excellent, thoughtful renderings. His recollections and reflections on these productions are collected in My Shakespeare. Some chapters are almost entirely anecdotal, but there are few if any that fail to cast some new light on the drama under discussion. -- Rowan Williams * New Statesman *Doran reflects with intelligence and grace and wit on himself and those with whom he has worked, and on the ways in which they sought to breathe fresh life into a series of plays that, for the most part, audiences think they know well … You’ll find it an informative-instructive delight. -- Rhodri Lewis * Prospect Magazine *This year marked the 400th anniversary of Shakespeare’s First Folio, which was met with a deluge of accompanying books. This is the best and most fun. * The Times, Best Poetry and Literature Books of the Year *A revelatory and revolutionary breakdown of the canon in a way that works for both the professional and uninitiated. His (obviously tight) grip on Shakespeare's universe is permeated by reverence and deference, but what seeps through the pages is his pure love for his language and characters … It's a joy to (re)discover Shakespeare's plays through his eyes. -- Cindy Marcolina * Broadway World *Whether you are looking for insights into both major and minor works by the Bard, the story of two theatrical giants or a history of the RSC over the last few decades, My Shakespeare is a must-read and must-buy, since this is the kind of thoughtful, well-written and consistently entertaining book that any lover of serious theatre would be delighted to read or receive as a gift. For any budding director who wants to bring Shakespeare to the stage, it could also act as a highly readable manual, offering morsels of intelligent guidance that only come with a lifetime’s experience. -- Philip Fisher * British Theatre Guide *What runs through this fascinating book is not only [Doran’s] passionate commitment, but his belief that Shakespeare holds up a mirror to all our lives and to the tumultuous times in which we live … The results are constantly illuminating … This is a very good book that reminds us that practitioners often make the best commentators … [A] thought-provoking journey through the First Folio. -- Michael Billington * Country Life *Greg Doran’s My Shakespeare generously offers us all the most intimate understanding of what the works of Shakespeare can give us; life with all its tragic and comic masks. Doran writes for the lover of Shakespeare, but allows those tentative about Shakespeare's genius to understand why his storytelling is miraculously both universal and local. My Shakespeare is a worthy addition to the study of Shakespeare’s plays in performance - and I’ll be damned if it doesn’t make me itch to get on stage again, to exercise my acting muscles in the greatest poetry-gym in the English language. * Paterson Joseph *Greg Doran’s writing, like his productions, comes from an honest, ungimmicky place. He infects the reader with his own curiosity about the world that gave birth to Shakespeare and how and why he still connects with us. He combines an unostentatious erudition with stories of a deeply personal journey from schoolboy visits to the RSC at Stratford to becoming its Artistic Director. I am so glad everyone can now be let in on his revelatory insights and not just those of us who have been lucky enough to be in a rehearsal room with him. * Harriet Walter *Table of ContentsChapter Page Introduction 8 1 Romeo and Juliet: A Prologue 9 2 Titus Andronicus 23 3 Henry VIII, or All is True. 31 4 The Merchant of Venice 39 5 The Winter’s Tale 45 6 Timon of Athens 50 7 Macbeth 55 8 As You Like It 65 9 King John 69 10 Much Ado About Nothing 75 11 The Taming of The Shrew 85 12 All’s Well That Ends Well 92 13 Othello 98 14 Venus & Adonis 110 15 A Midsummer Night’s Dream 116 16 Antony & Cleopatra 127 17 Merry Wives: The Musical 134 18 Coriolanus 139 19 Hamlet 144 20 Love’s Labour’s Lost 153 21 Twelfth Night 161 22 Julius Caesar 168 23 Richard II 176 24 Henry IV Part One 183 25 Henry IV Part Two 200 26 Henry V 203 27 King Lear 209 28 The Tempest 217 29 Troilus and Cressida 225 30 Measure for Measure 231 31 The Comedy of Errors (a lockdown chapter) 235 32 Henry VI Part One 240 33 Henry VI Part Two 249 34 Henry VI Part Three 253 35 Richard III 255 36 Cymbeline: An Epilogue 268
£23.75
HarperCollins Publishers India Tumhari Auqaat Kya Hai Piyush Mishra
a huge range and FREE tracked UK delivery on ALL orders.
£16.72
Bloomsbury Publishing (UK) Shakespeare in the Theatre The Stratford Festival
Book SynopsisChristie Carson is Reader Emerita in Shakespeare and Performance at Royal Holloway, University of London, UK. Her publications include Shakespeare's Globe: A Theatrical Experiment (2008), co-edited with Farah Karim-Cooper, and the monograph Robert Lepage's Intercultural Encounters (2021).
£76.00
Focus Publishing/R Pullins & Co Stage Directing: A Director's Itinerary
Book SynopsisIn Stage Directing: A Director''s Itinerary, the student of theatrical directing will find a step-by-step guide to directing a production, from choosing a play to opening night. Unlike other directing textbooks, it provides practical advice on organizing tasks throughout the directorial process, including budgeting, writing casting notices, and auditioning. It moreover includes an abundance of helpful examples and tried-and-true exercises, as well as information on how to organize a director's documents into a production notebook. The second edition builds on the strengths of the first edition by elaborating on key analytical, organizational, and strategic steps in a successful director's itinerary, with special attention to the direction of musicals.
£35.69
Taylor & Francis The Dramaturgy of Performing Science
Book SynopsisThis is a concise survey of new play projects that bring together the worlds of science and performance, and the benefits that dramaturgical praxis can bring to both disciplines.Three approaches common to both performance and science collaboration, experimentation, and interpretation are reflected in a series of case studies that demonstrate the ways in which dramaturgical tools can inform the wider public about scientific knowledge and practice, provide a truly reciprocal model of co-operation in collaboration that happens early on in the research process, and inspire the creation of new dramatic forms that enact, rather than translate, the dynamics of scientific research.Part of the Routledge Focus on Dramaturgy series, this is a vital account of collaborative work for scholars and practitioners of theatre and performance, as well as readers across the sciences.
£66.78
Taylor & Francis Ltd Dramaturgy of Sex on Stage in Contemporary
Book SynopsisDramaturgy of Sex on Stage in Contemporary Theatre explores the dramaturgy of sex in contemporary works for the stage in the social, cultural and historical context of the time and place during which they were written and performed.Comprising chapters by writers from across North America and Europe, the book covers an expansive range of plays, musicals and dance performances, from Broadway to the Fringe, from post-AIDS epidemic to post-COVID-19 pandemic. Analysing these intimate momentsboth textually and as stagedthrough an intersectional and critical lens illuminates the way power structures are maintained and codified, and how they can be queered and dismantled onstage and off. This examination of depictions of sex on stage attempts to understand from a dramaturgical and sociological perspective how these depictions have developed over time, and how the rise of intimacy directors has responded to the changes within the contemporary theatrical landscape and in the worTable of ContentsIntroductionKate MulleyPart I: Depicting Sexual Discovery and Identity1. (Still) Shopping and (Still) Fucking: The Stylistics of Queer Desire on StageGeorge Sampatakakis2. Respectable Queer Sex: Criteria for Permissible Representations in Contemporary Mainstream TheatreJoey Baseil Massa3. Depicting Queer Sexual Discovery in Contemporary British Fringe TheatreAlexander Millington4. All Tomorrow’s Parties: Structures of Feeling in Verbatim TheatreShane KinghornPart II: Depicting Stylized Sex5. Disability and Desire: Multimodal Exploration in Deaf West’s Spring AwakeningLindsey R. Barr6. Dancing on a Knife’s Edge: Performing Violent Co-Dependency in Bryony Lavery and Frantic Assembly’s StockholmKaren Morash7. A Dramaturgy of Precariousness: The Real, Realness, and Spectatorship of Sex in Dead Centre’s Good SexHuayu Yang8. Mette Ingvartsen’s “The Red Pieces” Series: Sex, Dance, Erasing Power Structures and Ungendered BodiesAnne LempickiPart III: Depicting Transactional Sex9. Commodification of Women’s Bodies: Staging the ConsequencesSophie Bastien10. Masculinity and Commercial Sex from the Perspective of Giuliana Musso’s SexmachineStefania Lodi RizziniPart IV: Depicting Female Desire11. Context, Cliche, and Other Considerations for Staging Female DesireCristina (Cha) Ramos and Claire Warden12. Monstrous Desires: Writings of Sexuality in Contemporary Feminist Dramatic Writings in FranceLeïla CassarPart V: Depicting Sexual Violence13. Patriarchy Structures and Depictions of Patriarchal Sex in Contemporary TheatreKate Mulley14. Interrogating Racialized Sexual Violence in Slave PlayJessica Ellison15. Sexual Assault and the Criminal Justice System: The Naked Female Body in Breach Theatre’s It’s True, It’s True, It’s TrueHannah Simpson16. Sex Between Macabre Lust and Clinical Dissection in Dea Loher’s DramaturgyYoun Le Guern-Herry17. Applications of Dramaturgy in the Physical Creation of Sexual Violence on StageMeron Langsner and Cristina (Cha) Ramos
£63.04
Taylor & Francis To the Actor On the Technique of Acting
Book SynopsisHow does an actor learn to: * Call up emotion? * Develop a character? * Strengthen awareness? These are essential techniques for every actor, and Michael Chekhov's classic work To the Actor explains, clearly and concisely, how to develop them. Chekhov's simple and practical method - successfully used by professional actors all over the world - trains the actor's imagination and body to fulfil its potential. This handbook for actors (and directors) has been revised and expanded by Mala Powers. It includes: a previously unpublished chapter on 'Psychological Gesture', translated into English by the celebrated director Andrei Malaev - Babel; a new biographical overview by Mala Powers; and a foreword by Simon Callow.Trade Review'Its greatest virtue is not so much that you can't put it down but that you have to put it down - in order to try it out.' - Research in Drama Education'To the Actor is by far the best book that I have read on the subject of acting. Actors, directors, writers and critics will be grateful for it.' - Gregory Peck'This new publication of To the Actor should be welcomed by all of us with one of the most universal of Psychological Gestures - open arms.' - James Lipton, Producer and host of 'Inside the Actor's Studio'. Seen on the Bravo network.'Just practicing, even superficially, the first nine exercises in To the Actor, you can find a satisfaction - a living beauty in you ... Chekhov reminds us what a great feast life can be.' - Anthony Quinn'You have to teach yourself to act but Michael Chekhov will give you the necessary tools - and for me, Psychological Gesture and Centers are extremely valuable They work like a charm. I've used them all along and still do.' - Clint Eastwood'While my mother and sister were hiding in the dark and kind of watching me, ya know, hoping I was going to be in the movie business, I turned around and imagined I saw my director making fun of my newly acquired Psychological Gesture from Michael Chekhov.' - Jack Nicholson at the 1998 Golden Globe awards (speaking about his first job)'There's this need to continue growth; to expand. For me, Chekhov's system is the most complete.' - Robert Davi, interviewed on the set of his TV series, 'The Profiler''With Michael Chekhov acting became more than a profession to me. It became a sort of religion.' - Marilyn Monroe, from her book, My Story.'Its greatest virtue is not so much that you can't put it down but that you have to put it down - in order to try it out.' - Research in Drama Education'To the Actor is by far the best book that I have read on the subject of acting. Actors, directors, writers and critics will be grateful for it.' - Gregory Peck'There's this need to continue growth; to expand. For me, Chekhov's system is the most complete.' - Robert Davi, interviewed on the set of his TV series, 'The Profiler'Table of ContentsChapter 1 The Actor's Body and Psychology; Chapter 2 Imagination and Incorporation of Images; Chapter 3 Improvisation and Ensemble; Chapter 4 The Atmosphere and Individual Feelings; Chapter 5 The Psychological Gesture; Chapter 6 Character and Characterization; Chapter 7 Creative Individuality; Chapter 8 Composition of the Performance; Chapter 9 Different Types Of Performances; Chapter 10 How to Approach the Part; Chapter 11 Concluding Notes; Chapter 12 Examples for Improvisation;
£35.99
Taylor & Francis Ltd (Sales) Whats the Story
Book SynopsisTable of ContentsSpaciousness Narrative Heat Limits Error Politics Arrest Empathy Opposition Collaboration Sustenance
£34.88
Manchester University Press Directing scenes and senses
Book SynopsisAs European theatre directors become a familiar presence on international stages and a new generation of theatre makers absorbs their impulses, this study develops fresh perspectives on Regie, the Continental European tradition of staging playtexts. -- .Trade Review'We all have difficulty understanding the differences between directing, staging, devising, performing, or between performance and mise en scène. Peter Boenisch’s new book on Regie discusses how contemporary theatre-makers engage with plays, materials or events that they want to 'put on stage'. As theatre-goers are themselves more and more expected to 'stage' their own impressions and insights, this is a most timely and necessary book for anyone interested in contemporary European theatre.'Patrice Pavis, Professor of Theatre Studies at the University of Kent -- .Table of ContentsPreface. The dissensus of Regie: Re-thinking “directors’ theatre”I. Mise en scène to mise en sens: Towards an aesthetic politics of Regie1. Regie beyond representation: Directing the ‘sensible’2. The restless spirit of Regie: Hegel, theatrality, and the magic of speculative thinking3. Theatre as dialectic institution: Friedrich Schiller and the liberty of play4. The essence of the text and its actualisation: Leopold Jessner, the playwright’s radical servantII. The theatral appearing of ideas: Regie in contemporary European theatre5. The tremor of speculative negation: On Regie, truth, and ex-position6. Seeing what is coming: On Regie, playing, and appearing7. The intermedial parallax: On Regie, media, and spectating8. Theatre in the age of semiocapitalism: On Regie, realism, and political critiqueAfterthought: The future of Regie?BibliographyIndex
£63.75
Manchester University Press Screen Plays
Book SynopsisScreen plays is a ground-breaking volume thatchronicles the rich and surprising history of stage plays produced for the small screen between 1930 and today. The collection makes a compelling case for the centrality of the theatre to the past and present of British television drama.Table of ContentsIntroduction – Amanda Wrigley and John Wyver 1 Stages and the small screen: theatre plays as television drama since 1930 – John Wyver2 A duchess, a shoemaker and a knight: early modern drama, early British television – Lisa Ward 3 ‘This genuine theatre condition’: Basil Dean and the 1938 BBC outside broadcast of J. B. Priestley’s When We Are Married – Victoria Lowe4 ‘Our other Shakespeare’: Middleton’s tragedies on television, 1965–2009 – Susanne Greenhalgh5 A revival, a reworking and an original: the Harold Pinter season on Theatre 625 (BBC2, 1967) – Amanda Wrigley and Billy Smart6 Regional drama from stage to screen: television adaptations by Peter Cheeseman’s Victoria Theatre company – Lez Cooke7 Granada Television’s experiment with The Stables Theatre Company, 1969–70 – John Wyver8 From radical Black theatre production to television adaptation: Black Feet in the Show (BBC, 1974) – Sally Shaw9 Cedric Messina: producing theatrical classics with a decorative aesthetic – Billy Smart10 Abigail’s Party: ‘It’s not a question of ignorance, Laurence, it’s a question of taste’ – Ruth Adams 11 Screen and stage space in Beckett’s theatre plays on television – Jonathan Bignell12 Television’s natural disposition? An analysis of Naturalism and performance in relation to BBC productions of Ibsen’s plays – Stephen Lacey13 Remediating the real: verbatim plays on television in the new millennium – Cyrielle Garson14 The impact of television on scholarly editions of Shakespeare’s plays – Neil TaylorIndex
£67.50
Northwestern University Press EnsembleMade Chicago
Book SynopsisBrings together the work of a wide range of Chicago theatre companies to share strategies for cocreating theatrical performance as an ensemble. Each chapter offers a short history of a Chicago company, followed by detailed exercises that have been developed and used by that company to build ensemble and generate performances.
£16.96
Distributed Art Pub Richard Foreman No Title
Book Synopsis
£18.90
Taylor & Francis Performance Trauma and Puerto Rico in Musical
Book SynopsisThis study positions four musicals and their associated artists as mobilizers of defiant joy in relation to trauma and healing in Puerto Rico. This book argues that the historical trajectory of these musicals has formed a canon of works that have reiterated, resisted or transformed experiences of trauma through linguistic, ritual, and geographic interventions. These traumas may be disaster-related, migrant-related, colonial or patriarchal. Bilingualism and translation, ritual action, and geographic space engage moments of trauma (natural disaster, incarceration, death) and healing (community celebration, grieving, emancipation) in these works. The musicals considered are West Side Story (1957, 2009, 2019), The Capeman (1998), In the Heights (2008), and Hamilton (2015). Central to this argument is that each of the musicals discussed is tied to Puerto Rico, either through the representation of Puerto Rican characters and stories, or through the Puerto Rican positionality of its creators. The author moves beyond the musicals to consider Lin-Manuel Miranda as an embodied site of healing, that has been met with controversy, as well as post-Hurricane Maria relief efforts led by Miranda on the island and from a distance. In each of the works discussed, acts of belonging shape notions of survivorship and witness. This book also opens a dialogue between these musicals and the work of island-based artists Y no habÃa luz, that has served as sites of first response to disaster. This book will be of interest to students and scholars in Latinx Theatre, Musical Theatre and Translation studies.
£39.99
Taylor & Francis Ltd Intimacy Directing for Theatre
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
£31.99
Taylor & Francis Ltd Intimacy Directing for Theatre
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
£121.50
Taylor & Francis The Routledge Companion to Performance
Book SynopsisThe Routledge Companion to Performance Practitioners collects the outstanding biographical and production overviews of key theatre practitioners first featured in the popular Routledge Performance Practitioners series of guidebooks.Each of the chapters is written by an expert on a particular figure, from Stanislavsky and Brecht to Laban and Decroux, and places their work in its social and historical context. Summaries and analyses of their key productions indicate how each practitioner's theoretical approaches to performance and the performer were manifested in practice. All 22 practitioners from the original series are represented, with this volume covering those born after 1915. This is the definitive first step for students, scholars and practitioners hoping to acquaint themselves with the leading names in performance, or deepen their knowledge of these seminal figures.Table of ContentsAcknowledgementsList of contributorsIntroduction11. KANTOR (1915–1990)12. HALPRIN (1920–)13. LECOQ (1921–1999)14. BOAL (1931–2009)15. GROTOWSKI (1933–1999)16. BARBA (1936–)17. MNOUCHKINE (1939–)18. BAUSCH (1940–2009)19. WILSON (1941–)20. ABRAMOVIC (1946–)21. LEPAGE (1957–)Index
£39.99
Taylor & Francis Acting Heightened Text
Book SynopsisActing Heightened Text: The Basics offers a foundational understanding of heightened text in drama, fused with a truthful, contemporary approach to acting.Using detailed text analysis and dynamic rehearsal exercises, actors and students bring heightened language to life by cultivating a joyful curiosity. A three-step homework process focuses attention on demystifying the intricacies of verse and prose, conveying meaning, clarifying changes in action (subtle shifts and beat changes), playing actions, and utilizing tactics. An innovative practice, hooking, sparks energy between partners, and focuses actors on responding to impulses to create a wide variety of textually-supported choices. The book includes up-to-date practical approaches to effective auditions, callbacks and rehearsals, specific tools for handling rhyming couplets, complex rhetorical arguments, and materials to support a lifelong pursuit of engaging with dramatic material with rigor and passion.Acting Heightened Text: The Basics provides a wealth of resources for actors, directors, students, and teachers to navigate the demands and embrace the challenges within dramatic texts.To support the learning process and enhance the understanding of the lessons from the book, please visit the Support Material, available at www.routledge.com/9781032695297. These include scenes and monologues for practice, real-life examples of students using these techniques, and detailed examples from the Try It! sections within each chapter, such as line-outs, action verbs, rhetorical maps, and hooking.
£21.99
Taylor & Francis How to Rehearse a Scene
Book Synopsis
£39.99
Taylor & Francis Ltd The Directors Toolkit
Book SynopsisThe Director's Toolkit is a comprehensive guide to the role of the theatrical director. Following the chronology of the directing process, the book discusses each stage in precise detail, considering the selection and analysis of the script, the audition process, casting, character development, rehearsals, how to self-evaluate a production and everything in between. Drawing on the author's own experience in multiple production roles, the book highlights the relationship between the director, stage manager and designer, exploring how the director should be involved in all elements of the production process. Featuring a unique exploration of directing in special circumstances, the book includes chapters on directing nonrealistic plays, musicals, alternative theatre configurations, and directing in an educational environment. The book includes detailed illustrations, step-by-step checklists, and opportunities for further exploration, offering a well-rTable of ContentsContentsPreface Acknowledgments Introduction – What Is a Director? Background The Director in the Production Process The Function of the Director Approaches Director vs. Acting Coach Qualities of a Good DirectorThe Production Process A Final Thought Further ExplorationPART I – The Script Chapter 1 – Script Selection Script Selection Process Sources for Play Scripts Understanding and Obtaining Performance Rights Relationship with the Playwright Contractual and Ethical Obligations Preparing a Production Book Play Selection ChecklistFurther Exploration Chapter 2 – Understanding the Play: Script Analysis Understanding the Play Determining and Understanding the Spine of the Play Identifying the Dramatic Structure of the Play Dividing the Script into Working Units Analyzing the PlayDetermining the Style of the PlayScript Analysis FormatOutline of Script Analysis FormatFurther ExplorationChapter 3 – Research Leading to a Concept Analysis to ResearchProduction ResearchPeriod ResearchBackground ResearchCharacter ResearchPlaywright ResearchStyle ResearchFinal Thoughts on ResearchIntrinsic and Extrinsic Interpretations of the PlayHistorical and Social Implications in Interpretation of the PlayDeveloping a Production Concept for the PlayResearch Leading to a Concept ChecklistFurther ExplorationChapter 4 – Style What Is Style? The Origin of Theatrical Styles Modern Theatrical Styles Determining the Style of the Play Style vs. ModeDetermining the Mode for the ProductionFurther ExplorationPART II – The Production StaffChapter 5 – Working with the Production StaffThe Role of the DesignersThe Director’s Relationship with the DesignersContributions of the DesignersCollaborationDirecting the Design AreasProduction MeetingsA Final ThoughtFurther ExplorationChapter 6 – Working with the Stage ManagerThe Stage Manager’s Role in the Production The Stage Manager’s FunctionsThe Care and Feeding of Your Stage ManagerWhat the Stage Manager Is NotFurther ExplorationPART III – Auditions and CastingChapter 7 – Auditions Purpose of AuditionsTypes of AuditionsProcedures for AuditionsPlanning for the AuditionThe Use of Callback AuditionsHow to Improve the Quality of the AuditionsMethods for Keeping Notes on the ActorsDirector’s DecorumAudition Checklist Sample Audition Procedures Sample Audition FormSample Audition Worksheet Further ExplorationChapter 8 – CastingThe Importance of Casting Decisions Criteria for Cast SelectionThe Process of Making Casting DecisionsNontraditional CastingUnderstudiesChanging Your MindCasting with Other DirectorsCasting WorksheetFurther ExplorationChapter 9 – Scheduling for the Production PlanningThe Production CalendarThe Rehearsal Calendar – Preplanning vs. Daily SchedulesPlanning the Amount of Time NeededPhasesEstablishing Goals for Each RehearsalPresenting the Production and Rehearsal SchedulesFinal ThoughtsScheduling ChecklistFurther ExplorationPART IV – Floor Plans, Stage Pictures, and BlockingChapter 10 – Developing the Floor PlanThe Director’s Relationship to the Floor PlanUnderstanding Theater Architecture and Its Implications for the ProductionWorking with the Scenic Designer on Developing the Floor Plan Types of Floor Plans (Patterns of Scenery) Meeting the Needs of the ScriptUsing the Floor Plan to Focus the Audience’s AttentionMark Antony’s Funeral SpeechCreating Visual Interest Using the Scenic AxisBalanceSuggestions for Improving the Floor PlanUsing Key Scenes to Develop or Evaluate the Floor PlanDrawing the Floor PlanFloor Plan Development ChecklistFurther ExplorationChapter 11 – Creating Stage Pictures What Is a Stage Picture?The Process of Developing Stage Pictures Developing a Stage Picture for Ile SummaryFinal ThoughtsStage Picture Checklist Further Exploration Chapter 12 – BlockingPreplanned vs. Organic BlockingPurpose for BlockingPrinciples of Blocking Using Blocking More EffectivelyKeeping the Blocking MotivatedBlocking Pitfalls to AvoidUsing PropsPlanning, Recording, and Communicating the BlockingBlocking ChecklistFurther ExplorationPART V – The Rehearsal Process Chapter 13 – Working with the Actors Developing a Relationship with Your Actors Types and Functions of Characters Understanding the Actor’s Process Communicating with Your Actors Working with Actorisms Further ExplorationChapter 14 – Rehearsal TechniquesPlanning for the RehearsalsOrganization of the RehearsalsKeeping Rehearsals on TaskGiving the Actors NotesKeeping Muscle Memory in MindRehearsing Scenes Involving ViolenceActing Exercises to Address Particular NeedsRehearsal Organization ChecklistFurther ExplorationChapter 15 – Rehearsal Challenges Challenges vs. ProblemsSituationsSummaryProblem Solving ChecklistFurther ExplorationChapter 16 – Tempo, Rhythm, and PaceThe Director’s Relationship to Tempo, Rhythm, and Pace Tempo RhythmPaceUniting Tempo and Rhythm to Create Pace in the ProductionTechnical Implications on PaceTools and Considerations for Building the Tempo, Rhythm, and Pace of the ProductionPace and EnergyTempo, Rhythm, and Pace ExercisesFinal ThoughtsFurther ExplorationChapter 17 – Polishing the PlayThe Function of the Polishing RehearsalsPolishing the ActingImplementing the Technical Aspects into the ProductionTechnical Rehearsals without the Actors (Dry Techs)Technical Rehearsals with the Actors (Actor Techs)Dress RehearsalsStaging and Rehearsing the Curtain CallFinal ThoughtsFurther ExplorationChapter 18 - Evaluating the ProductionWhy Conduct an Evaluation? Evaluating the ProductionExternal Sources of EvaluationCombining All Sources of EvaluationProduction Evaluation Further ExplorationPART VI – Additional TopicsChapter 19 – Directing Nonrealistic Styles (Styling the Production) Identifying the StyleConventions of StylesDirecting a Presentational or Nonrealistic StyleDetermining the Mode for Nonrealistic StylesMatching Your Directing Style to the Style of the PlayExamples of Working in Styles Other Than Pure RealismGreek Theatre ShakespeareComedyFurther ExplorationChapter 20 – Directing MusicalsUnderstanding the Difference Between Musicals and Straight PlaysAdditional Collaboration in MusicalsWorking with the Music and Choreography in Developing the CharactersAdditional Considerations in Rehearsals for MusicalsA Word About Working with Musicians and ChoreographersFurther ExplorationChapter 21 – Directing in Alternative SettingsRecognizing How Directing in Alternative Settings Differs from ProsceniumGeneral Guidelines for Directing in Alternative SettingsDirecting in an Arena ConfigurationDirecting in a Thrust ConfigurationDirecting in Other ConfigurationsTouringFurther ExplorationChapter 22 – Directing in an Educational EnvironmentThe Director as TeacherUnderstanding the Goals of Educational TheatreUnderstanding the Role of the Educational DirectorThe Relationship of the Director with the Cast and StaffWorking in the School EnvironmentFurther ExplorationThe Next Step Appendix A – Sources for Play ScriptsAppendix B – Plays, Films, and TV Shows Referenced
£35.99
