Theatre management Books

Book SynopsisJust because arts organisations are non-profits doesn’t mean they shouldn’t make money; it means the money they make goes back to fund the mission - whether that’s music, visual arts, theatre, dance, or one of many other mediums that enrich our lives. In the US alone, the arts are a $763 billion sector whose 100,000 organisations serve almost every community in the nation. There’s no reason arts organisations should struggle to make ends meet. And now, with arts-tested strategies from Aubrey Bergauer, they won’t. Running your arts organisation like a business is your path forward to: Grow audiences and keep them coming back again - Make our organizations more inclusive - Get younger attendees in the seats and on the donor rolls - Generate millions more dollars in revenue - Continue to create the art we love-without the stress of figuring out how to afford it - The for-profit world knows how to achieve success across customer engagement, the user experience, company culture, the subscription economy, technology and media, new revenue streams, and brand relevance. Run it Like a Business provides a powerful, proven framework to help all arts organisations revitalise their economic engines and ultimately serve the art and its patrons.

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Book SynopsisI Was Never Alone or Oporniki presents an original ethnographic stage play, based on fieldwork conducted in Russia with adults with disabilities. The core of the work is the script of the play itself, which is accompanied by a description of the script development process, from the research in the field to rehearsals for public performances. In a supporting essay, the author argues that both ethnography and theatre can be understood as designs for being together in unusual ways, and that both practices can be deepened by recognizing the vibrant social impact of interdependency animated by vulnerability, as identified by disability theorists and activists.Table of ContentsAbout This Book Foreword Play Script Cast of Characters Setting Time Portrait I: Vera Portrait II: Vakas Portrait III: Alina Portrait IV: Sergei Portrait V: Rudak Portrait VI: Anya Photos Ethnographer’s Essay: Rituals of Vulnerability Introduction Background a. Words for Disability b. Disability in Russia c. Defining Performance Ethnography d. Performance Ethnography and/in Anthropology Staging Disability: Interdependency and Crip Time Making I Was Never Alone or Oporniki: Origins and Writing Process Representing Russia on the North American Stage Making I Was Never Alone or Oporniki: Casting and Rehearsing Access: Disability Theatre in Practice Conclusion Afterword Appendix 1: Performance Ethnography Exercises Appendix 2: Disability Terminology Appendix 3: Russian and Soviet Historical References Appendix 4: Suggestions for Reading this Work in the Classroom Appendix 5: Prop List and Dramaturgical Note Appendix 6: An Ethic of Accommodation Appendix 7: Glossary and Pronunciation of Russian Words

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Book SynopsisThe 20th anniversary edition of this celebrated performing arts industry yearbook. This well-established and respected directory supports actors in their training and search for work in theatre, film, TV, radio and comedy.It is the only directory to provide detailed information for each listing and specific advice on how to approach companies and individuals, saving hours of further research. From agents and casting directors to producing theatres, showreel companies, photographers and much more, this essential reference book editorially selects only the most relevant and reputable contacts for the industry.Covering training and working in theatre, film, radio, TV and comedy, it contains invaluable resources such as a casting calendar and articles on a range of topics from your social media profile to what drama schools are looking for to financial and tax issues.With the listings updated every year, the Actors'' and Performers'' Yearbook

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Book SynopsisBrodsky and Olin profile female leaders in music, theater, dance, and visual art. The diverse women included in this volume have made their mark as arts leaders by serving as executives or founders of art organizations, by working as activists to support the arts, or by challenging stereotypes about women in the arts.Trade Review“There will never be too many books teaching Women’s Herstory. Brodsky and Olin’s case studies describe the outrageous and humiliating strangleholds all women have endured and continue to face. Brodsky and Olin champion us to reach our goals.” -- Elizabeth A. Sackler, PhD * Founder, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum *“New histories need to be written. Preserving stories that complicate and enrich mainstream narratives is vitally important, and the inspired and inspiring contributions groundbreaking women have made to our cultural world deserve to be celebrated. In addition to leading this charge themselves in their own remarkable careers, with the publication of Junctures in Women’s Leadership: The Arts, Judith Brodsky and Ferris Olin have given us the gift of expanding the canon through these remarkable case studies in creative leadership in the arts.” -- Catherine Morris * Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art Brooklyn Museum *“Here's a round of applause for Judith Brodsky and Ferris Olin, founders of the Rutgers Institute for Women and Art (now the Rutgers Center for Women in the Arts and Humanities, the first feminist art center on a university campus) and heartfelt thanks for Junctures in Women's Leadership: The Arts, their rich insights into generations of women leaders in the arts on the global stage. As arts leaders in their own right and as historians of the rich tradition to which they belong, Brodsky and Olin document feminist cultural history as, just as importantly, they continue to make it. We are doubly in their debt.” -- Nell Irvin Painter * Edwards Professor of American History, Emerita, Princeton University, author of The History of White *"Quick to See and Quick to Lead: Women and Power in the Arts" by Stuart Mitchner * Town Topics *" Recommended." * Choice *"This much-needed volume, with its primary focus on visual arts professionals, brings attention to a group of women whose biographies have not been joined before....[Brodsky and Olin's] sound scholarship is essential to advancing the understanding about the contributions of these women as well as the general contributions of women in the arts. No similar books offer case studies on women leaders across different professions with this focus. Hopefully, more such accessible tomes will follow." * Woman's art Journal *"Reflections on Aging, Identity, and Social Justice in Potent Prints," by Ilene Dube * Hyperallergic *Table of Contents1 Bertha Honoré Palmer (1849-1918) Philanthropist, president of the Board of Lady Managers, Woman’s Building, World’s Columbian Exposition in Chicago, 1893 2 Louise Noun (1908 – 2002) Philanthropist, art collector, scholar 3 Samella Lewis (1924-) Artist, art historian, arts administrator 4 Julia Miles (1930-) Theater director and producer; founder, Women’s Project Theater 5 Miriam Colón (1936-2017) Broadway and Hollywood film actress; founder, Puerto Rican Traveling Theater 6 Jaune Quick-To-See Smith (1940-) Artist and activist 7 Bernice Steinbaum (1941-) Gallerist and advocate for diversity 8 Anne d’Harnoncourt (1943-2008) Director, Philadelphia Museum of Art 9 Martha Wilson (1947-) Artist, activist, archivist; founder, Franklin Furnace Archive 10 Jawole Willa Jo Zollar (1950-) Choreographer; founder of the dance company, Urban Bush Women 11 Kim Berman (1960-) Artist, activist; founder, Artist Proof Studio and Phumani Paper, South Africa 12 Gilane Tawadros (1965-) Arts administrator; founding director, Institute for International Visual Arts (InIVA), United Kingdom 13 Veomanee Douangdala (1976-) and Joanne Smith (1976-) Social and cultural entrepreneurs, Laos

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Book SynopsisIn this third volume of the series Junctures: Case Studies in Women’s Leadership, Judith K. Brodsky and Ferris Olin profile female leaders in music, theater, dance, and visual art. The diverse women included in Junctures in Women''s Leadership: The Arts have made their mark by serving as executives or founders of art organizations, by working as activists to support the arts, or by challenging stereotypes about women in the arts. The contributors explore several important themes, such as the role of feminist leadership in changing cultural values regarding inclusivity and gender parity, as well as the feminization of the arts and the power of the arts as cultural institutions. Amongst the women discussed are Bertha Honoré Palmer, Louise Noun, Samella Lewis, Julia Miles, Miriam Colón, Jaune Quick-To-See Smith, Bernice Steinbaum, Anne d’Harnoncourt, Martha Wilson, Jawole Willa Jo Zollar, Kim Berman, Gilane Tawadros, Joanna Smith, andTrade Review“There will never be too many books teaching Women’s Herstory. Brodsky and Olin’s case studies describe the outrageous and humiliating strangleholds all women have endured and continue to face. Brodsky and Olin champion us to reach our goals.” -- Elizabeth A. Sackler, PhD * Founder, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum *“New histories need to be written. Preserving stories that complicate and enrich mainstream narratives is vitally important, and the inspired and inspiring contributions groundbreaking women have made to our cultural world deserve to be celebrated. In addition to leading this charge themselves in their own remarkable careers, with the publication of Junctures in Women’s Leadership: The Arts, Judith Brodsky and Ferris Olin have given us the gift of expanding the canon through these remarkable case studies in creative leadership in the arts.” -- Catherine Morris * Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art Brooklyn Museum *“Here's a round of applause for Judith Brodsky and Ferris Olin, founders of the Rutgers Institute for Women and Art (now the Rutgers Center for Women in the Arts and Humanities, the first feminist art center on a university campus) and heartfelt thanks for Junctures in Women's Leadership: The Arts, their rich insights into generations of women leaders in the arts on the global stage. As arts leaders in their own right and as historians of the rich tradition to which they belong, Brodsky and Olin document feminist cultural history as, just as importantly, they continue to make it. We are doubly in their debt.” -- Nell Irvin Painter * Edwards Professor of American History, Emerita, Princeton University, author of The History of White *"Quick to See and Quick to Lead: Women and Power in the Arts" by Stuart Mitchner * Town Topics *" Recommended." * Choice *"This much-needed volume, with its primary focus on visual arts professionals, brings attention to a group of women whose biographies have not been joined before....[Brodsky and Olin's] sound scholarship is essential to advancing the understanding about the contributions of these women as well as the general contributions of women in the arts. No similar books offer case studies on women leaders across different professions with this focus. Hopefully, more such accessible tomes will follow." * Woman's art Journal *"Reflections on Aging, Identity, and Social Justice in Potent Prints," by Ilene Dube * Hyperallergic *Table of Contents1 Bertha Honoré Palmer (1849-1918) Philanthropist, president of the Board of Lady Managers, Woman’s Building, World’s Columbian Exposition in Chicago, 1893 2 Louise Noun (1908 – 2002) Philanthropist, art collector, scholar 3 Samella Lewis (1924-) Artist, art historian, arts administrator 4 Julia Miles (1930-) Theater director and producer; founder, Women’s Project Theater 5 Miriam Colón (1936-2017) Broadway and Hollywood film actress; founder, Puerto Rican Traveling Theater 6 Jaune Quick-To-See Smith (1940-) Artist and activist 7 Bernice Steinbaum (1941-) Gallerist and advocate for diversity 8 Anne d’Harnoncourt (1943-2008) Director, Philadelphia Museum of Art 9 Martha Wilson (1947-) Artist, activist, archivist; founder, Franklin Furnace Archive 10 Jawole Willa Jo Zollar (1950-) Choreographer; founder of the dance company, Urban Bush Women 11 Kim Berman (1960-) Artist, activist; founder, Artist Proof Studio and Phumani Paper, South Africa 12 Gilane Tawadros (1965-) Arts administrator; founding director, Institute for International Visual Arts (InIVA), United Kingdom 13 Veomanee Douangdala (1976-) and Joanne Smith (1976-) Social and cultural entrepreneurs, Laos

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Book SynopsisNew paperback, with contextualising timeline and biographies, published in association with the Society for Theatre ResearchThis volume covers the 1950s, focusing on plays we know, plays we have forgotten, and plays which were silenced for ever, demonstrating the extent to which censorship shaped the theatre voices of this decade.Trade Review. . . the book that I most eagerly awaited in 2011 . . . Nicholson is a scholar who writes with lucidity, wit, humane intelligence and grace of mind. There is no jargon in his pages, but much glorious hilarity. Nicholson's series ought to be mandatory reading for historians and biographers interested in twentieth-century England. [. . .] The quotations in this book are a gold mine for other writers.' -- Richard Davenport-Hines * The Times Literary Supplement *Table of Contents Acknowledgements Introduction: 'That Happy State' 1. Censorship in a Golden Age 2. 'Packed with Nancies': Homosexuality and the Stage (I) 3. Breaking the Rules, Breaking the Lord Chamberlain: Unlicensed Plays in the West End 4. Speaking the Unspoken: Homosexuality and the Stage (II) 5. Not Always on Top: The Lord Chamberlain's Office and the New Wave 6. Dirty Business: Sex, Religion and International Politics 7. The Tearing Down of Everything: Class, Politics and Aunt Edna Afterword Biographies of the principal people working for the Lord Chamberlain's Office Notes Select Bibliography Index

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Book SynopsisWinner of the Society for Theatre Research Book Prize - 2016New paperback, with contextualising timeline and biographies, published in association with the Society for Theatre ResearchThis volume covers the 1960s, a significant decade in social and political spheres in Britain, especially in the theatre.Trade ReviewNicholson’s skillful deployment of meticulous archival research is combined with an effective sense of the overall picture of theatre and performance in the 1960s and concludes with a persuasive caution against complacency about the situation after the end of pre-censorship. -- Russell Jackson * Theatre Notebook *. . . .we will lament the abolition of censorship insofar as it has robbed us of another volume. -- Anne Etienne, University College Cork * Studies in Theatre and Performance *'It’s a brilliant manuscript, forensic and fascinating, rich with detail and countless examples of the hilarious and bewildering attitudes of the later censorship, but with also Nicholson’s characteristic fair-mindedness which treats the Lord Chamberlain and his comptrollers with respect for the difficult job they had to do and the nuanced way in which they did it. It’s a great conclusion to a vital series.' -- Dan Rebellato, Royal Holloway University of LondonTable of ContentsAcknowledgements Timeline: The Political and Cultural Calender Introduction: Galahad and Mordred 1. The Inflamed Appendix (1960-1961) 2. No Laughing Matter (1961-1962) 3. Pleasuring the Lord Chamberlain (1963) 4. Some S. I will not Eat (1964) 5. Blows for Freedom (1965) 6. Going Wild (1965-1966) 7. Getting Tough (1966) 8. An Affront to Constitutional Principles (1967) 9. Let the Sunshine In (1968) 10. Afterwords (1968-1971) Notes Select Bibliography Index

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Book SynopsisThis popular book describes in detail a stage manager''s job. It provides those just starting out in the profession with a solid grounding in theatre stage management practices and procedures. The disciplines of lighting, set design and sound are discussed but the main focus is the management of these elements and the processes and scheduling that go together to provide effective results. Chronologically following the production of a play, the book starts with pre-production planning and progresses to opening night. With easy reference checklists and a full glossary, it is the essential guide to stage management.Trade Review"It is superbly illustrated with script schedules, diagrams and check-sheets, and covers everything from props to `being on the book. . . . This is a practical handbook which can be used for day to day reference by all of us concerned with the staging of productions and I unhesitatingly recommend it, not only to all those who practise this gentle art but to every student in every drama school." -- Charles Vance, Amateur Stage

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Book SynopsisClean Break Theatre Company is a women-only theatre company that grew out of a prisoner-led drama workshop that took place between 1977?1979 in HMP Askham Grange. In addition to its considerable impact on criminalised women and public understandings of the socio-political impact of their experiences, Clean Break has had a significant but under-acknowledged impact on contemporary British theatre. We examine three areas of Clean Break''s theatre making history and organisational practices: its origin stories; its education and engagement work; and how the company''s performance practices have, across five decades, ''then'' and ''now'', adapted to directly intervene in carceral society. By highlighting Clean Break''s distinct activist theatre making processes and practices, the book makes explicit the genealogical connections of the company''s past work and its impacts on contemporary feminist theatre practices.

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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 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 SynopsisThis well-established and respected directory supports actors in their training and search for work in theatre, film, TV, radio and comedy. It is the only directory to provide detailed information for each listing and specific advice on how to approach companies and individuals, saving hours of further research. From agents and casting directors to producing theatres, showreel companies, photographers and much more, this essential reference book editorially selects only the most relevant and reputable contacts for the actor. Actors' and Performers' Yearbook 2022 features:* 4 newly commissioned interviews conducted by Polly Bennett and Joan Iyiola (co-founders of The Mono Box) with theatre industry professionals including Cherrelle Skeete, Hazel Holder, Ned Bennett and Tom Ross Williams* a new foreword by Polly BennettWith the listings updated every year, the Actors' and Performers' Yearbook continues to be the go-to guide for help with auditions, interviews and securing/sustaining wo

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Book SynopsisKevin Landis, PhD, MFA is Professor and Director of the Theatre and Dance Program at the University of Colorado Colorado Springs. His numerous published works range from culinary/theatrical intersections, to mobile Shakespeare, to American drag, to a book on performance anthropology. He is a visiting scholar at The Public Theater.Trade ReviewThe first book to hold a mirror up to an American theatre in the pandemic era. . . . The Public's leadership role in the field and the challenge of adhering to its increasingly relevant principles make One Public a compelling case study. As American theatre in the 2020s stands on 'the ledge of survival,' this book will be an instructive read for anyone interested in knowing how the field can endure. * American Theatre *Informative and very readable ... [an] excellent overview of an iconic theatre. * British Theatre Guide *Bring[s] the theatres, productions, the personnel and the ideas of One Public to life. . . . Thoroughly inspiring. . . . This is a book worth reading and rereading. * Robin's Room *Landis is deft at weaving together history, institutional aspirations, and personalities to create an honest and compelling account of one theater’s visionary efforts to create art everyone can access. In meticulously dissecting the story of the Public Theater using interviews from dozens of artists One Public feels as alive as the artform it describes. Landis doesn’t shy away from addressing the upheaval the Public and its Artistic Director, Oskar Eustis face as COVID and demands for racial equity force a slow art form and a large institution to change with the same fervor it brings to its historic productions—wonderfully chronicled here. Landis’ passion for theater pops off every page making this book essential reading for anyone who believes in the power of live stories to enrich our culture and our nation. * P Carl, Distinguished Artist in Residence, Emerson College *A compelling read. . . . There should be more scholarship that focuses on these singular institutions in American theater. . . . I want more. * On TAP podcast *Table of ContentsAcknowledgements Introduction Chapter One: One Public The Park Chapter Two: Up to the Delacorte Chapter Three: Under the Lights Interlude: Beowulf Boritt and Kenny Leon on Much Ado About Nothing Lafayette Chapter Four: Four Twenty-Five Chapter Five: Coming Home Interlude: Justin Vivian Bond and Bridget Everett on Joe’s Pub Broadway ‘Bound’ Chapter Six: A Night at the Disco Chapter Seven: Listen to Me Interlude: Lin-Manuel Miranda on Hamilton To the People Chapter Eight: Courting Controversy Chapter Nine: The American Neighborhood Interlude: Kwame Kwei-Armah on Public Works Hope Chapter Ten: Rebirth Epilogue: Oskar Eustis Notes and Sources Index

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Book SynopsisSyrus Lowe trained as an actor at RADA and has a successful career in theatre, TV and animation. Most recently, he appeared in the hit West End show The Inheritance and on HBO's Avenue 5 and Channel 4's Home. He is also a leader in the field of corporate role play, having worked in the sector for over 20 years and, since 2015, having run the UK's only corporate role play masterclass for actors (www.roleplaymasterclass.com).Table of ContentsForeword Training Introduction Training for the under-18s Arts Emergency – Julie Hesmondhalgh Interview: David Mumeni; Levelling the playing-field for actors from working and benefit class backgrounds Drama schools Checklist of drama school deadlines, audition requirements, audition fees and funding systems – Lloyd Trott What are drama schools looking for? – Geoffrey Colman It’s warm up North: training and opportunities for actors living in North East England – Adelle Hulsmeier Short-term and part-time courses Private tutors and coaches An actor’s toolkit – Simon Dunmore Agents and casting directors Introduction Agents Being an agent – Howard Roberts CPMA: the Co-operative Personal Management Association Voice-over agents Presenters’ agents Casting directors Casting for the stage – Anne McNulty Casting for musical theatre – David Grindrod Woman in a brown skirt – Sophie Stanton Theatre Introduction Interview: Cherrelle Skeete; Active Listening in a Community of Nomads Dramaturg at HOME – Petra Jane Tauscher Producing theatres Interview: Tom Ross-Williams Inclusivity and Allyship for the Future of the Industry Effective audition speeches – Simon Dunmore Understudying – Andrew Piper Independent managements/theatre producers Interview: Hazel Holder; Voicing Kindness Ignition, inspiration and the imposter – Scott Graham Middle and smaller-scale companies Starting your own theatre company – Pilar Orti´ Finding funding for projects – Sinead Mac Manus The multi-hyphenate comedy actor-performer-writer – Chris Head Interview: Geoff Whiting; Routes into stand-up comedy Pantomime English-language European theatre companies A touring actor’s survival guide – Maev Alexander Fringe theatres Interview: Ned Bennett; The Direction of Collaboration Edinburgh or bust: is it worth it? – Shane Dempsey Open Book: fairer finances for fringe theatre – Piers Beckley Children’s, young people’s and theatre in education – Paul Harman Shakespeare changes prisoners’ lives – Bruce Wall Festivals Role-play companies Media Introduction Television companies Casting for television – Janie Frazer Auditioning for camera – Nancy Bishop Self-taping auditions – Ros Hubbard Are you ready for Pilot Season? – Brendan Thomas Independent film, video and TV production companies Film schools Actors and video games – Mark Estdale Radio and audio book companies Acting for radio – Gordon House Media festivals Disabled actors Introduction Training Sources of work Arts organisations Rights, advice and support Opportunities for disabled actors – Jamie Beddard Resources Resources Introduction Equity Act For Change – Kobna Holdbrook-Smith Beyond #metoo – Kelly Burke Spotlight, casting directories and information services ‘Point me in the right direction’: navigating the casting services – Isabelle Farah Be prepared for publicity – Jayne Trotman Photographers and repro companies Getting the most from your photographs – Angus Deuchar Making money from your voice – Marina Caldarone Showreel, voicereel and website services Showreels: creation and maintenance – Anthony Holmes Digital wellbeing for actors – Sinead Mac Manus Interview: Daniel Heale; Building your personal brand on social media Accountants Tax and National Insurance for actors – Philippe Carden Equity Pension Scheme – Andrew Barker @ First Act Physical and mental fitness for actors – Alex Caan Interview: Claire Cordeaux; Mental health in the performing arts Funding bodies Publications, libraries, references and booksellers Organisations, associations and societies Bibliography Webography Index

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

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Book SynopsisThis well-established and respected directory supports actors in their training and search for work in theatre, film, TV, radio and comedy.It is the only directory to provide detailed information for each listing and specific advice on how to approach companies and individuals, saving hours of further research. From agents and casting directors to producing theatres, showreel companies, photographers and much more, this essential reference book editorially selects only the most relevant and reputable contacts for the industry.Covering training and working in theatre, film, radio, TV and comedy, it contains invaluable resources such as a casting calendar and articles on a range of topics from your social media profile to what drama schools are looking for to financial and tax issues.With the listings updated every year, the Actors'' and Performers'' Yearbook continues to be the go-to guide for help with auditions, interviews and securing/sustaining work within the industry.ActTrade ReviewThis book is a brilliant resource to have on your journey. No matter where you find yourself in your career, it can give you a new direction, tactics or focus when you feel a bit lost. * Syrus Lowe, actor *Table of ContentsForeword - Sam Stevenson Training Introduction Training for the under-18s Arts Emergency – Julie Hesmondhalgh Interview: David Mumeni; Levelling the playing-field for actors from working and benefit class backgrounds Drama schools Checklist of drama school deadlines, audition requirements, audition fees and funding systems – Lloyd Trott What are drama schools looking for? – Geoffrey Colman It’s warm up North: training and opportunities for actors living in North East England – Adelle Hulsmeier Short-term and part-time courses Private tutors and coaches An actor’s toolkit – Simon Dunmore Agents and casting directors Introduction Agents Being an agent – Howard Roberts CPMA: the Co-operative Personal Management Association Voice-over agents Presenters’ agents Casting directors Casting for the stage – Anne McNulty Casting for musical theatre – David Grindrod Woman in a brown skirt – Sophie Stanton Theatre Introduction Interview: Cherrelle Skeete; Active Listening in a Community of Nomads Dramaturg at HOME – Petra Jane Tauscher Producing theatres Interview: Tom Ross-Williams Inclusivity and Allyship for the Future of the Industry Effective audition speeches – Simon Dunmore Understudying – Andrew Piper Independent managements/theatre producers Interview: Hazel Holder; Voicing Kindness Ignition, inspiration and the imposter – Scott Graham Middle and smaller-scale companies Starting your own theatre company – Pilar Orti´ Finding funding for projects – Sinead Mac Manus The multi-hyphenate comedy actor-performer-writer – Chris Head Interview: Geoff Whiting; Routes into stand-up comedy Pantomime English-language European theatre companies A touring actor’s survival guide – Maev Alexander Fringe theatres Interview: Ned Bennett; The Direction of Collaboration Edinburgh or bust: is it worth it? – Shane Dempsey Open Book: fairer finances for fringe theatre – Piers Beckley Children’s, young people’s and theatre in education – Paul Harman Shakespeare changes prisoners’ lives – Bruce Wall Festivals Role-play companies Media Introduction Television companies Casting for television – Janie Frazer Auditioning for camera – Nancy Bishop Self-taping auditions – Ros Hubbard Are you ready for Pilot Season? – Brendan Thomas Independent film, video and TV production companies Film schools Actors and video games – Mark Estdale Radio and audio book companies Acting for radio – Gordon House Media festivals Disabled actors Introduction Training Sources of work Arts organisations Rights, advice and support Opportunities for disabled actors – Jamie Beddard Resources Resources Introduction Equity Act For Change – Kobna Holdbrook-Smith Beyond #metoo – Kelly Burke Spotlight, casting directories and information services ‘Point me in the right direction’: navigating the casting services – Isabelle Farah Be prepared for publicity – Jayne Trotman Photographers and repro companies Getting the most from your photographs – Angus Deuchar Making money from your voice – Marina Caldarone Showreel, voicereel and website services Showreels: creation and maintenance – Anthony Holmes Digital wellbeing for actors – Sinead Mac Manus Interview: Daniel Heale; Building your personal brand on social media Accountants Tax and National Insurance for actors – Philippe Carden Equity Pension Scheme – Andrew Barker @ First Act Physical and mental fitness for actors – Alex Caan Interview: Claire Cordeaux; Mental health in the performing arts Funding bodies Publications, libraries, references and booksellers Organisations, associations and societies Bibliography Webography Index

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Book SynopsisHow do you develop the craft and skills of stage management for today's theatre industry? And how can these same skills be applied in a variety of entertainment settings to help you develop a rewarding and successful career?Drawing on his diverse experience working with companies from across the performing arts spectrum in venues from the Hollywood Bowl to the Barbican Centre in London, Michael Vitale offers a practical resource on the art of stage management for new and established stage managers. Besides providing detailed coverage of the role within theatre, the book uniquely explores the field of stage management in numerous branches of the entertainment industry. From theatre, opera, and theme parks, to cruise ships, special events, and dance, stage managers are an integral part of keeping productions running, and this book offers guidance on each distinct area to equip you for a varied and successful career. Written with candour and filled with real-world examples, the boTrade ReviewEver wondered what it meant to be a stage manager? Michael Vitale, who has assisted in productions ranging from the Hollywood Bowl to the Barbican Theatre in London, shares his insights on one of the stage’s most influential behind-the-scenes job. Vitale gives readers a guide to develop the skills of a successful stage manager, whether it’s pre-production or running closing night. Not contained to a singular genre, this book looks at stage management for various types of productions: theatre, opera, cruise ship performance, and dance, to name just a few. * Playbill *Michael Vitale’s new stage management text covers crucial processes and venues heretofore unmentioned in the few previous, often somewhat dated books on the market. His experience in professional theatre, opera, philharmonic and dance, including working with The Hollywood Bowl’s international assemblage of the world’s best conductors, actors, singers and musicians, makes this a must-have book for any serious stage manager. -- Dr. Jim Volz, Author, Producer, Educator, Theatre CriticTable of ContentsTABLE OF CONTENTS Acknowledgments INTRODUCTION CHAPTER 1: ROLE OF THE STAGE MANAGER Who’s Who Assembling the Team The Argument for Artist Archetypes of Stage Managers CHAPTER 2: PRE-PRODUCTION Reading the Script The Prep Week Production Meetings Tips and Tricks for Running a Production Meeting The Stage Manager’s Kit Preparing the Prompt Book CHAPTER 3: THE PRODUCTION PROCESS- REHEARSAL ROOM Running Rehearsals Preparing the Space Blocking Notation Rehearsal Reports The Final Days CHAPTER 4: THE PRODUCTION PROCESS- TECHNICAL REHEARSALS Getting the Stage Ready Arrivals Calling the Show Integrating the Crew CHAPTER 5: RUNNING THE SHOW Maintaining the Show Safety Calls & Brush Ups Company Morale CHAPTER 6: WORKING WITH OTHERS Teamwork and Collaboration Conflict in the Room Problems from Within The Good Stuff Building a Strong Team Dynamic Patience and Communication CHAPTER 7: ROLE OF THE STAGE MANAGER: OPERA Organization The Process The Score The Who, What, Where Room Rehearsals Tech Performance CHAPTER 8: ROLE OF THE STAGE MANAGER: MUSIC Classical Music Working with Artists Blurring the Lines Other Music Styles Considerations of a Production/Tour Manager CHAPTER 9: ROLE OF THE STAGE MANAGER: SPECIAL EVENTS The Initial Meeting Making It Happen CHAPTER 10: ROLE OF THE STAGE MANAGER: THEME PARKS The Structure By the Numbers Theme Park Offerings What Makes a Theme Park Different A Day in the Life of a Theme Park Stage Manager CHAPTER 11: ROLE OF THE STAGE MANAGER: CRUISE SHIPS The Production Process The Shows Other Responsibilities The Experience CHAPTER 12: OTHER AVENUES FOR YOU STAGE MANAGEMENT SKILLS Dance Careers in the Theatre Other Industries CONCLUSION A Note on the Author Notes Further Reading Index

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Book SynopsisHow do you develop both the craft of directing as well as a professional career in freelance directing in today''s theatre industry? Drawing on his own extensive experience and that of other theatre professionals from the US and UK, Kent Thompson illuminates a pathway from training, apprenticeship and assistant directing to an established career as a director. Directing Professionally first lays out paths for aspirant directors to train, grow and succeed as directors, then advises freelance directors on how to establish and accelerate their professional careers. It also reveals the most significant ways those directors become artistic directors today. With a frank, thoughtful and often humorous examination of the job of professional direction and artistic direction, Thompson writes about the passion, commitment, artistic vision, directorial experience, leadership skills, and powerful persuasive gifts needed to succeed in this extraordinary field. Featuring case stuTrade ReviewKent Thompson’s Directing Professionally is the perfect blend of the real experience of directing in professional theatre and the process needed to direct in today’s theatre companies... Kent's optimistic and realistic book is an invaluable guide for every student of directing or emerging director. -- Jane Page, University of California, USATable of ContentsAbout the Author Acknowledgements Introduction PART I: Entering the Field Chapter 1. The Big Leap Chapter 2. Understanding the Business of Theatre PART II: Your First Professional Job Chapter 3. Interviewing for the Job Chapter 4. Director’s Work in Pre-Production Chapter 5. Rehearsals in the Studio Chapter 6. Moving into the Theatre through Final Dress Chapter 7. Previews through Opening PART III: Advancing Your Career Chapter 8. Finding Your Next Job(s) Chapter 9. Directing New Plays & Musicals Chapter 10. Nurturing Your Art & Yourself PART IV: Becoming an Artistic DirectorChapter 11. Leading a Theatre… or Not Chapter 12. Getting the Artistic Director Job Chapter 13. Preparing to Lead Conclusion Notes Further Reading

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Book SynopsisInsecurity: Perils and Products of Theatres of the Real begins with the premise that although the inclusion of real objects and real words on the stage would ostensibly seem to increase the epistemological security and documentary truth-value of the presentation, in fact the opposite is the case.Table of Contents1. Introduction 2. Real People Part 1: Winning and/or losing the game of life in autobiographical performance—Winners and Losers 3. Real People Part 2: Insecurity and ethical failure in the encounter with stranger—100% Vancouver, RARE, and Polyglotte 4. Real Words: Reproducing life in remediated verbatim theatre—Seeds and 300 TAPES 5. Real Space: The insecure geographies of site-specific audio walks—Garden/ /Suburbia and Landline 6. Real Bodies Part 1: The traumatic real in immersive performances of political crisis and insecurity—Counting Sheep and Foreign Radical 7. Real Bodies Part 2: Narcissistic spectatorship in theatrical "haunted houses" of solo immersive performance—Everyman 8. Coda: Theatres of the real in the age of post-reality

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Book SynopsisMiguel de Cervantes’s experimentation with theatricality is frequently tied to the notion of revelation and disclosure of hidden truths. Drawing the Curtain showcases the elements of theatricality that characterize Cervantes’s prose and analyses the ways in which he uses theatricality in his own literary production. Bringing together the works of well-known scholars, who draw from a variety of disciplines and theoretical approaches, this collection demonstrates how Cervantes exploits revelation and disclosure to create dynamic dramatic moments that surprise and engage observers and readers. Hewing closely to Peter Brook’s notion of the bare or empty stage, Esther Fernández and Adrienne L. Martín argue that Cervantes’s omnipresent concern with theatricality manifests not only in his drama but also in the myriad metatheatrical instances dispersed throughout his prose works. In doing so, Drawing the Curtain sheds light on the ways in which CervTable of ContentsIntroduction: The Poetics of the Imagined Stage Esther Fernández and Adrienne L. Martín Part One: Alternate Theatricalities in Cervantes’s Drama 1. Cervantes and the Simple Stage Bruce R. Burningham 2. Queer Cambalaches in El rufián dichoso John Slater 3. Of Players and Wagers: The Theatricality of Gambling for Salvation in El rufián dichoso Sonia Velázquez 4. Writing to Rescue from Oblivion: The Phantasms of Captivity in El trato de Argel Julia Domínguez 5. Captivating Music, Memory, and Emotions in Los baños de Argel Sherry Velasco 6. In the Name of Love: Cervantes’s Play on Captivity in La gran sultana Ana Laguna 7. Revolving Sets: Spatial Revelations in the Entremeses Esther Fernández and Adrienne L. Martín Part Two: Acts of Disclosure in Cervantes’s Prose 8. Coups de théâtre in the Novelas ejemplares B.W. Ife 9. Captive Audiences: Performing Captivity in Cervantes’s Prose Narrative Catherine Infante 10. Painting into Theatre: “The Suicide of Lucretia” as a Tableau Vivant in El curioso impertinente Mercedes Alcalá-Galán 11. “Muchas y muy verdaderas señales”: The Theatrics of Truth and Sincerity of Fiction in La Galatea Paul Michael Johnson 12. Eavesdropping or Spying? Secret Places and Spaces in Don Quixote Eduardo Olid Guerrero 13. Don Quixote and the Performance of Aging Masculinities in Early Modern Spain José R. Cartagena Calderón

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Book SynopsisBetween 2014 and 2016, Quarantine produced the first iteration of Summer. Autumn. Winter. Spring., an epic quartet comprising three live performances and one film. The full quartet premiered at the Old Granada Television Studios in Manchester in March/April 2016.This illustrated volume is both a case study of the work, and an investigation into the various themes surrounding it. At the heart of the work is the human life cycle and our relationship with time: the processes of living and dying, the experience of looking backwards and forwards, of being in the present, and of reflection on the stags of life. This volume collects together a range of artists, producers and thinkers who have significant things to say about these important themes.Table of ContentsPreface Richard Gregory and Renny O’Shea 1 An interview with Simon Banham, Richard Gregory and Renny O’Shea, part oneCristina Delgado-GarcíaSummer. 2 An interview with Simon Banham, Richard Gregory and Renny O’Shea, part twoCristina Delgado-García 3 A programme note from Summer. Cristina Delgado-García 4 Awkwardly placed: repeating scenographies Simon Banham 5 Living things: material entanglements in Quarantine’s Summer. Joslin McKinney 6 Underscoring Summer.Michael BaldwinAutumn.7 An interview with Simon Banham, Richard Gregory and Renny O’Shea, part three Cristina Delgado-García 8 Looking back with regret Carolyn Price 9 as at 5th Jan 2016, 2.30pm Sonia Hughes 10 Entitled drinking in a changing world Biray Kolluoglu and Zafer Yenal 11 Turning into darkness Martin Elfert Winter.12 An interview with Simon Banham, Richard Gregory and Renny O’Shea, part four Cristina Delgado-García 13 Illness, suffering, death: a philosophical conversation between Michael Brady and Havi Carel Michael Brady and Havi Carel 14 Winter. A Reflection Rachel Davies 15 Sharing in Winter.: film, participatory practice and the art of dying Michele Aaron 16 Processing Winter. Sarah Hunter and Lisa Mattocks Spring.17 An interview with Simon Banham, Richard Gregory and Renny O’Shea, part five Cristina Delgado-García 18 Wu Jin: recipes for jam and survival Rania Ho 19 Worry and hope among future parents Travis Rieder 20 From hope to care: some reflections on hope in a post hope world Mary Zournazi 21 Gloria Leentje Van de Cruys List of contributors

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Book SynopsisDirecting plays in schools requires knowledge and talents far different than directing for community or professional theatre. In ten comprehensive chapters the author explains the ''real world'' of producing effective theatricals in the school environment. He details the pitfalls and the problems while providing ideas for consistently successful shows.

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Book SynopsisHave you ever wanted to put on your own show? A musical, maybe? Or a mystery? How about doing a show with puppets? There are many different things you can do with lots of imagination and just a few things you can find around the house. This book also tells you about different parts of the theatre and some of what goes into the creation of a professional production. Theatre even has its own special vocabulary; so when you see a word that is unfamiliar or for which you would like clarification, check the glossary at the back of the book. Lots of special tips and secrets guide you in the development of your own scripts, sets, costumes, special effects and more.

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Book SynopsisThe second edition of Building the Successful Theater Company takes readers even deeper into the world of theatrical production, examining in great depth the financial realities of establishing--and maintaining--a successful organization. This indispensable reference is updated to include more theater company profiles with expert advice to better reveal the pitfalls, passions, and practicalities of the theater industry. The author's been-there-done-that personal experiences along with the wisdom of esteemed theater company heads will encourage readers to aim high and overcome challenges to accomplish all of their creative and financial objectives. Everything from finding a performance space, to creating a first season, to promoting a company and production, to designing a long-term plan is discussed in detail in this engaging guide--a sometimes irreverent, always relevant look behind the curtain of the modern stage troupe. Chapters include developing business and budget plans, rehearsing, attracting attention with publicity and word-of-mouth, adapting to growth, and more. No other book contains the unique insights and sound advice found in this indispensable reference.Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

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Book SynopsisThis volume provides a history of the most consequential 35mm motion picture camera introduced in North America in the quarter century following the Second World War: the Arriflex 35. It traces the North American history of this camera from 1945 through 1972--when the first lightweight, self-blimped 35mm cameras became available. Chronicle of a Camera emphasizes theatrical film production, documenting the Arriflex's increasingly important role in expanding the range of production choices, styles, and even content of American motion pictures in this period. The book's exploration culminates most strikingly in examples found in feature films dating from the 1960s and early 1970s, including a number of films associated with what came to be known as the ""Hollywood New Wave."" The author shows that the Arriflex prompted important innovation in three key areas: it greatly facilitated and encouraged location shooting; it gave cinematographers new options for intensifying visual style and content; and it stimulated low-budget and independent production. Films in which the Arriflex played an absolutely central role include Bullitt, The French Connection, and, most significantly, Easy Rider. Using an Arriflex for car-mounted shots, hand-held shots, and zoom-lens shots led to greater cinematic realism and personal expression.

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Book SynopsisWhat makes a theater company successful? Lisa Mulcahy poses the question to leaders from nineteen of the country’s most diverse and vital theater companies from the recent past and present, and offers answers in Building the Successful Theater Company. Producers, stage managers, directors—anyone dreaming of running a theater troupe—will benefit from the practical guidance, amusing anecdotes, and sincere advice in this peek behind the curtains of the often difficult, always seductive, profession of theater. With five additional companies profiled in this fully revised third edition, Building a Successful Theater Company features:•The LABrynth Theater Company•New Paradise Laboratories•National Theatre of the Deaf•Shotgun Players•Asian-American Theatre Company•Steppenwolf Theater Company•The Pasadena Playhouse•La Jolla Playhouse•Chicago City Limits•Berkeley Repertory Theatre•Arena Stage’s The Living Stage Theatre Company•Mixed Blood Theatre Company•Horizons Theatre•Wheelock Family Theatre•L.A. Theatre Works•A Traveling Jewish Theatre•Jean Cocteau Repertory•Bailiwick Repertory•New Repertory TheatreNew chapters cover funding and financial aspects, maximizing a company's potential through powerful social media use, and creating successful partnerships by teaming up with corporate sponsors and establishing artistic collaborations. Stage veterans reveal advice on everything from locating performance space, to developing a business plan, to and rehearsing and publicizing productions in this invaluable guide to creating or growing a theater company.Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

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Book SynopsisAdvice Culled from Interviews with More Than 100 Experts in the Field In Running Theaters, management consultant and author Duncan M. Webb reveals the best practices that consistently lead to successful theater operations. Culled from surveys and interviews with theater managers and experts in crucial functional areas, this guide provides importan

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Book SynopsisA MOMENT ON THE CLOCK OF THE WORLD is an invitation to consider how we make the world, together. It collects the voices of people who respond to this invitation with their living lives and prolific work: artists, social justice practitioners, cultural critics and public intellectuals — Cornel West, Taylor Mac, Alisa Solomon, Robin D.G. Kelley and Laura Flanders among them — whose own inquiries intersected with that of the award-winning Foundry Theatre across its 25-year history. Notions of collaboration, art, community, space, prefigurative politics, metrics, and Time animate a conversation about the ways that artists and social justice workers build a more equitable world, and the historic challenges of their doing so together. A MOMENT ON THE CLOCK OF THE WORLD follows The Foundry’s long-standing tradition for creating provocative relationships between form and content. Its layout divides each page into two discrete horizontal sections; the top two-thirds contain each contributor’s chapter, while the bottom of the pages throughout the book hold a history of The Foundry’s inquiry by the company’s founder. There is no prescribed way to read this book. Rather, it is designed to invite the reader to discover and gather shared themes and ideas in any number of ways. The title of the book recalls renowned social activist and philosopher Grace Lee Boggs’s legendary — and for some, incendiary — call for a new kind of activism: “Now is the time on the clock of the world to grow our souls.” This book gathers together hard-won insights of its “moment.” It’s a moment on the continuum of ever in the (r)evolutionary human project of making the world. Trade Review“This beautiful volume, celebrating the uncompromising vision of New York’s Foundry Theatre, reminds us that the impossible is possible through creative courage and the conviction of one’s deepest principles." —Los Angeles Times "These stunning essays, interviews, incantations, manifestations are by the best radical thinkers in the U.S. A. This collection is a manifesto filled with bold ideas, magic and poetry, a living record of the best of what is still called the ‘un-American tradition’ in theater. This is political and creative courage at its best and the voices inside this work are not only subversive but reach to the very root of why we make theater, why we keep coming back. Best of all, this book wrenches apart neo-liberal notions of what ‘resistance’ truly is, and redefines and recontructs them from the root up. And the root is the only place where the radical still lives. And there also lives The Foundry theater." —Naomi Wallace "Below the lofts, gyms, and dog-walking, is a radical history of cultural resistance and wildness. An essential inspiration and document for those interested in curing the gentrification of the mind.” —Nato Thompson, author, Culture as Weapon: The Art of Influence in Everyday Life "The Foundry Theatre is the great exemplar of artistic excellence, political courage, and visionary hope of American theatre in the late 20th and early 21st centuries." —Cornel West, (from the Foreword) "A fascinating testament to the game-changing spirit of one of the most important things to happen to the American theatre. Any artist or producer seeking inspiration or lessons on how to truly shake things up should start here.” —Branden Jacobs-Jenkins "The Foundry Theatre has quietly been responsible for some of the most artistically ambitious work seen in New York in recent years." —The New York Times "The Foundry has a long history of pushing plays beyond the boundaries of traditional theatre in terms of form, content, and location." —Time Out "The Foundry Theatre has excellent vision. [They] have championed remarkable theatremakers who challenge what we consider a play." —Village Voice "The Foundry has long had the passion for mixing artistic rigor with social activism." —The Brooklyn Rail "Since 1994, The Foundry Theatre has been a mainstay in the downtown theatre scene." —The New York Times

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Book SynopsisIn the world of Fringe (or Off-Off Broadway) theatre, a strong debate has been raging for years - when you're producing a low/no-budget production, how on earth can you make it happen and still treat everyone involved in an open, honest and ethical manner? Where do you stand with profit-share productions when you can't afford to pay Union minimums? Open Book Theatre Management, along with its free online resources of instructional budget spreadsheets, is the first book ever to show you exactly how to mount a theatre production without losing either your integrity or your shirt. It is aimed at actors, directors and producers in the early stages of their careers; drama schools; and further and higher education establishments. The methodologies outlined in the book are transferable across all countries in which arts funding is difficult to secure. The time for going to the Establishment with the begging bowl is over. There need be no more excuses. The author will even show you how to start your own theatre company for only a tenner...

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Book SynopsisWorking at the heart of theatre production, the stage management department is responsible for the smooth running of the show from day one of rehearsals to final curtain on the last performance. Stage Management examines, in depth, the roles and responsibilities of this indispensable team, including organizing rehearsals and performances, working with directors and designers to realise their creative ideas, and supporting the cast and other technical departments. This practical guide is packed with extensive example paperwork, top tips and industry terminology, offering expert guidance and advice on key tasks that can be achieved competently and with ease.

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Book SynopsisAnd could this be curtains for The Empire?In this perfect Christmas gift for theatre lovers, Michael Ball transports readers to the roaring twenties as he works his magic in this second Empire Theatre novel. 'Theatre legend Michael Ball writes evocatively and passionately about a world he knows so well.

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Book SynopsisPaul Gregg is the mastermind behind the iconic Apollo Leisure Group, which hosted many of the world''s greatest live shows, including The Lion King, Starlight Express, Fiddler on the Roof, Les Misérables, Cats and Riverdance.Despite initially being regarded as an upstart by the theatrical establishment, Paul successfully built a portfolio of over sixty theatres across the UK and Ireland, and his remarkable career saw him work alongside international performers such as Dean Martin, Liza Minnelli and Michael Jackson, plus British greats like Cliff Richard, Shirley Bassey and Queen.Told with warmth and humour, Backstage Without a Pass provides a unique insight into Paul's life: from his childhood growing up on a council estate in the north of England to the colourful world of live entertainment and a dramatic boardroom showdown whilst he was the co-owner of Everton FC.Packed with further anecdotes about

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Book SynopsisCelebrities can come from many different realms: film, music, politics, sports. But what do all these major celebrities have in common? What elevates them to the status of household names while their equally talented peers remain in relative obscurity? Is it just a question of charisma, or does fame depend more on the collective fantasies of fans than the actual accomplishments of celebrities? In search of answers, cultural historian Eric Burns delves deep into the biographies of some of the most famous figures in American history, from Benjamin Franklin to Fanny Kemble, Elvis Presley to Gene Tierney, and Michael Jordan to Oprah Winfrey. Through these case studies, he considers the evolution of celebrity throughout the ages. More controversially, he questions the very status of fame in the twenty-first century, an era in which thousands of minor celebrities have seen their fifteen minutes in the spotlight. The Politics of Fame is a provocative and entertaining look at the lives and afterlives of America’s most beloved celebrities as well as the mad devotion they inspired. It raises important questions about what celebrity worship reveals about the worshippers—and about the state of the nation itselfTrade Review"Eric Burns's book provides a fascinating chronology of the politics of fame from the American founder fathers to the present day. The volume includes many interesting anecdotes upon this important topic." -- Mark Wheeler * London Metropolitan University and author of Celebrity Politics *In this incendiary cultural commentary on the place of fame in politics, Burns’ links what he sees as a decline in educational standards with the “false intimacy” of celebrity. He describes a political environment in which the political classes pander to the “wisdom” of an electorate starved of genuine intelligence. Burns’ book will inspire and infuriate in equal measure, but as a warning against the influence of fame contemporary, it is unmissable. -- Michael Higgins * Senior Lecturer, Director of MLitt in Media and Communication at the University of Strathclyd *Table of ContentsContents Epigraph A Note to Readers Prologue PART ONE Chapter One: Life, Liberty and the Pursuit of Fame Chapter Two: The Celebrity With A Cause Chapter Three: The Cultural Commodity Chapter Four: At Long Last, Class Chapter Five: Circulation Wars Chapter Six: The Press and the Immigrants The Chapter Seven: The Deviancy of Adulation Part TWO Chapter One: The Decreasing Literacy Rate Chapter Two: The Leveling Forces of Democracy Chapter Three: The Declining Importance of Faith Chapter Four: The Acceleration of Haste Chapter Five: The False Intimacy of the Media Epilogue Bibliography Notes Index

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Book SynopsisThe beautifully illustrated pocket edition is an editorial tribute to the history of the Comunale Theatre in Bologna, a city institution of international fame. With previously unpublished and richly detailed images and complementary texts by Professor Piero Mioli, this publication celebrates the theatre's great and unique story. Also included is a rich photographic array from the theatre's historical archives featuring posters, stage photos, sketches, drawings and figurine plates, which have been hidden from public view, until now. Text in English and Italian.

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Book SynopsisThe beautifully illustrated volume is an editorial tribute to the history of the Comunale Theatre in Bologna, a city institution of international fame. With previously unpublished and richly detailed images and complementary texts by Professor Piero Mioli, this publication celebrates the theatre's great and unique story. Also included is a rich photographic array from the theatre's historical archives featuring posters, stage photos, sketches, drawings and figurine plates, which have been hidden from public view, until now. Text in English and Italian.

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