Theatre: technical Books

Book SynopsisEmphasising the artistry behind the decisions made by theatrical sound designers, this guide is for anyone seeking to understand the nature of sound and how to apply it to the stage. Through tried-and-tested advice and lessons in practical application, The Art of Theatrical Sound Design allows developing artists to apply psychology, physiology, sociology, anthropology and all aspects of sound phenomenology to theatrical sound design. Structured in three parts, the book explores, theoretically, how human beings perceive the vibration of sound; offers exercises to develop support for storytelling by creating an emotional journey for the audience; considers how to collaborate and communicate as a theatre artist; and discusses how to create a cohesive sound design for the stage.Trade ReviewThis fascinating book is informed by the author’s wide range of experience, from performer in dance, music and acting to sound designer and director. Beginning with the physiology and psychology of human hearing, the book takes an eclectic path to an examination of successful artistic collaboration, through developmental and intellectual exercises, the study of cultural and historical influences and, ultimately, the reality of applying the lessons learned in a professional environment. As a rigorous and in-depth study of the art of sound design for theatre, it should become an invaluable asset to any serious student of this often under-appreciated and under-explored art. * John Leonard, theatre and exhibition sound designer and the author of Theatre Sound, 2016 *[DeIorio] has artfully engaged the reader in the understanding of perception and meaning, acoustical context, design and intention, the breadth of musical expression, the conveyance of emotional values, an historical perspective on music, the designer’s tools that can affect audience responses, and some valuable insight on collaboration between members of the artistic team... This book is important for anyone considering a creative career in the diverse world of Professional Sound Design. I heartily recommend it. * David Budries, Professor in the Practice of Sound Design Chair, Department of Sound Design, Yale School of Drama *Table of ContentsContents Introduction Who am I? Why life choices matter How this book can help you PART ONE THEORETIC FOUNDATION Sound and Human Perception Humans as artists Aesthetic response Mind–body connection Biology, physics, and psychology Perception Describing sound Describing music Theatre artists The Art of Spatial Design Space and place Four aspects to auditory spatial awareness The architects Auditory subcultures Cultural value of acoustic context Nature of cultural silence Aural texture Soundmarks Subspaces The theater space Practical application Temporal and spatial spreading Reverberation Part 1 Exercises PART TWO CONTEXTUAL APPLICATION AND EXERCISES Exercises to Develop Artistic Sound Design Skills Moving forward Themes Repetition Punctuation Dynamics Ambience Drones Time Concrete vs. abstract History Exercises Using Tools Music in the 1600s Music in the 1700s Music in the 1800s Music 1900–1920 Music 1920–1940 Music 1940–1960 Music 1960–1980 Music 1980–2000 Music 2000–2010 PART THREE THE COLLABORATIVE PROCESS Applying Tools and Artistic Collaboration Working with text Theatrical application Collaborative Process of a Sound Designer Intellectual interpretation Design and production meetings Rehearsals Quiet time and level set The first moment sound is heard Tech Objective and subjective listening Previews Ownership Cohesion, Convention, and Implementation in Tech Cohesion Convention Cohesion in the tech process Cohesion with voice and movement Cohesion with your collaborators Communication for the Artistic Process Group dynamics Behavior and attitude Motivation and self-empowerment = Assertiveness Self-awareness skills Self-talk Taking self-responsibility Feedback The digital age—the first introduction Communication in the digital age—email etiquette Interpreting visual representation Cooperation vs. collaboration Communication Conclusion Bibliography Glossary

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Book SynopsisThe romantic theatre, with all its imaginative vigour and eagerness for experimentation, appeals to those who like total theatre – unabashed, unashamedly spectacular, unforgettably pathetic. Critics who take a purely literary approach the drama often neglect or malign the theatre of the nineteenth century. Yet even in terms of literary, influence it is a hazardous to ignore the debt the exponents of naturalism owed to the drama of the prenaturalistic period. Despite universal critical agreement about the significance of Ibsen and Strindberg as creators of modernism, no attempt has previously been made to describe and delineate the theatrical context from which these major Scandinavian playwrights emerged. Hans Christian Andersen stands squarely astride the romantic period in Scandinavia. His plays, appearing from 1829 to 1865, span the important transition from the actor-dominated theatre to the naturalist theatre controlled by the director. Although recognized as a great

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Book SynopsisThis leading authority in small theatre stagecraft shows and tells how professional-quality lighting can be achieved within the limitations of school auditoriums, community theatres and churches.

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Book SynopsisTwenty chapters detailing all of the fundamentals -- everything the aspiring stage technician needs to know to get started in backstage work! All sections highlighted with photographs, illustrations and diagrams. Major topics include: stage and rigging; production staff; properties; sound; lumber, tools and hardware; scenery construction; lighting instruments; control of light and colour; electricity and devices. The what, when and why of all backstage equipment and how to use it to maximum effect with safety, speed and efficiency.

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Book SynopsisWhy spend a small fortune to rent expensive period costumes when you can create them yourself for less than a day''s rental price? Make them the easy way from cast-offs without sewing! Included in this book are over 100 ingenious costume designs with photographs and diagrams for many period characters from Egyptian, Greek and Roman all the way to Punk. These conversion costuming ideas will save you time, money and deadline disasters and give you precisely the costume you want.

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Book SynopsisAn indispensable reference for drama teachers, directors, architects and design professionals. Twelve chapters in three sections: Part 1 -- Tools and Terminology: All of the basics -- the evolution of sources and controls. Part 2 -- Manipulating the Light: Developing the Lighting Key -- source levels and controls. Part 3 -- The Collaborative Process: An anecdotal approach to communicating intent using modern technology.

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Book SynopsisHere is help for actors, directors, stage managers, producers, and event planners who want to understand every aspect of technical theater—from scenery, lighting, and sound to props, costumes, and stage management.In this thoroughly revised new edition, the popular guide firmly embraces the digital age with new content about digital audio, intelligent lighting, LED lighting, video projection, and show control systems, all explained in the same approachable style that has kept this book in the pockets of industry professionals for many years. A brand-new chapter on sound design has also been added, and every chapter has been updated with more information about the basics of theater technology, including draperies, lighting instruments, microphones, costume sketches, and more. This book teaches: Who’s who on a theatrical production team What is needed to know about technical theater and why What to look for when choosing a space for a show How to communicate with lighting, scenery, audio, and costume designers How to stage manage an effective show or presentation Covering both traditional and digitally supported backstage environments, this book is an essential guide for working with every technical aspect of theater!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 SynopsisThe definitive guide to writing music for the stage, by the Composer-in-Residence at the Donmar Warehouse. Music has played a vital part in drama since the earliest days of theatre. For composers, writing music for the stage is an opportunity to exercise their utmost creativity and versatility: a good musical score will both support and enhance the play it serves, and can lift a prosaic moment into something quite extraordinary. In this book, Michael Bruce takes you through the entire process – from initial preparation, through composition, rehearsals and recording, and finally to performance. He covers everything a composer needs to know, including: • Getting started – spotting when and how music might be used in a play, doing research, considering form and content • Building a 'sound world' – finding and using source music, creating incidental music, choosing the best instrumentation, scoring, utilising technology, writing music to accompany song lyrics • Working on the production – understanding the composer's role in rehearsals, collaborating with key creatives, employing actor-musicians, getting the show on • Recording – knowing when to record, booking and working with musicians – and the studio engineer, running a recording session Throughout the book, the author draws on his own experience of creating music for a wide variety of plays at the Donmar Warehouse, the National Theatre, in the West End and on Broadway, including detailed case studies of his work on The Recruiting Officer, Coriolanus, Privacy, The Winslow Boy, Noises Off and Strange Interlude. The book is accompanied by online excerpts from his scores. An essential companion for all composers – amateur, student or professional – Writing Music for the Stage is also invaluable reading for other theatre professionals, including directors, playwrights, producers, actors, designers and sound designers – in fact, for anyone seeking to understand how music helps to create worlds and tell stories on stage. 'This fascinating book – like its author (with whom I've had the good fortune to work on three productions) – is bursting with practical advice, good sense and invention. A must-read for all those with an interest in how music works on stage.' Mark Gatiss 'A good score makes a world of difference to an actor. Read Michael Bruce's book and you'll understand why. He is a genius.' Judi Dench 'Michael's music is wonderful: inclusive, original, respectful and – in its rightness – sheer joy.' Josie Rourke, from her ForewordTrade Review'plenty of detailed practical advice here for you wherever you are in your learning journey. It’s also a good read for anyone who simply wants to understand how theatrical music works without necessarily wanting to create it.' -- Susan Elkin * susanelkin.co.uk *'A joy to read… an incredibly interesting viewpoint of this vital aspect of the creation of a performance… Michael Bruce successfully conveys his passion and work ethic, constantly inspiring the reader and encouraging us to continue to learn from his words' * Drama Magazine *

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Book SynopsisWhy collect Russian stage designs? Why write about them? These questions are not rhetorical or idly academic. They have real historical, intellectual, and commercial relevance. Answers may vary, but surely a primary response must be that, quite simply, Russian stage designs are immensely pleasing to the eye. They vibrate, and scintillate with colour, texture and movement. Furthermore, through their daring inventions, Russian artists of the first thirty years of the 20th century transformed, profoundly and permanently, our perception of stage design - and hence of the theatre. They belonged to an extraordinarily creative generation of impresarios, dancers, actors, patrons, and critics who inspired or at least made a major contribution to the international renaissance of the art of the stage, and in particular areas, e.g. the teaching and performing of ballet, their influence is still present today. However, in spite of the many published commentaries on the Russian theatre, in spite of the autobiographies and biographies of its leading representatives, and in spite of the scholarly appreciations of its various components (ballet, drama, opera), the subject of stage design in Russia has yet to be explored in all its manifestations. Each work presented here is documented as fully as possible, and includes curatorial data, provenance index, and references to relevant published sources, exhibitions; and variants such as copies and preliminary drawings. The catalogue raisonné addresses the issues of attribution, identification of stage production, and date of execution and adduces evidence in the form of bibliographical, archival, and photographic data, expert opinion, and circumstantial evidence in order to support assumptions and conclusions. "For the general reader there are many splendid discoveries; for anyone in today's theatre, with its drearily modish, predictabilities of image, it should prove an eye-opener, an eye-cleanser, an inspiration". Clement Crisp, The Financial Times "This is an essential guide not just to the works in the collection themselves, but to the biographies of the artists". The Art Newspaper The Encyclopedia of Russian Stage Design 1880-1930 has been published to accompany Masterpieces of Russian Stage Design 1880-1930 ISBN: 9781851496884.Trade ReviewThis is an essential guide not just to the collection, but to the biographies of artists, including many lesser-known figures as well as such giants of Russian stage design as Leon Bakst, Alexandre Benois, Natalia Goncharova or Alexandra Exter. The Art Newspaper, January 2014 A great review in this month's CHOICE, This volume, carefully conceived, designed, and executed, is the logical next step in consolidating the achievement of these collectors. Summing up: Highly recommended. CHOICE, January 2014

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Book SynopsisThe popularity of fantasy blockbusters and sci-fi television has made the call for prosthetic artists a staple requirement in the majority of film crews. Prosthetic make-up has the ability to transform actors into unique, one-of-a-kind characters who take us into the realms of impossibility, limited only by the artist's imagination. Yet it can also be used in more subtle ways to alter physical appearance and create ageing, weight gain or illness, useful for a variety of genres and entertainment mediums. This instructional book offers a fascinating insight into the world of prosthetic make-up artistry. It illustrates two- and three-dimensional make-up techniques and covers topics such as: life casting; sculpting techniques; gelatine prosthetics; airbrushing; hair punching; hand-laid hair techniques and novelty teeth design and manufacture.

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Book SynopsisROSS BROWN is Dean of Studies andReader in Soundat the Central School of Speech and Drama, University of London, UK. He is Convenor of the International Theatre Sound Colloquium His professional career as a theatre composer, musician and sound designer includes productions for BBC Radio Drama, Shared Experience, RSC, The Almeida, BAC, The Gate, The Royal Court, The Shadow Syndicate, Glasgow Citizens', Lancaster Duke's, Derby Playhouse, Red Shift and many other prestigious companies in the commercial and subsidised sectors.

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Book Synopsis`I consider this book a precious report that permits one to assimilate some of those simple and basic principles which the self-taught at times come to know, yet only after years of groping and errors. The book furnishes information regarding discoveries which the actor can understand in practice, without having to start each time from zero. Thomas Richards has worked with me systematically since 1985. Today he is my essential collaborator in the research dedicated to Art as Vehicle.'' - from the Preface by Jerzy GrotowskiTrade Review'This book is extremely concise and makes the work of Grotowski something students understand.' - Jane Hanna, Roehampton Institute, UK'An essential text for anyone interested in the work of Polish theatre-maker and teacher Jerzy Grotowski.' - Total TheatreTable of ContentsAt Work with Grotowski on Physical Actions by Thomas Richards, Stanislavski And Grotowski: The Connection, Ryszard Cieslak At Yale, The Workshop At The Objective Drama Program, In New York, Grotowski Speaks At Hunter College, The Work At Botinaccio: An Attack On Dilettantism, One Year With Grotowski In Objective Drama, At The Workcenter Of Jerzy Grotowski, Beginning Stages, Grotowski Vs. Stanislavski: The Impulses, "Realistic" Actions In Everyday Life, Conclusion On "Realistic" Actions, Quoted texts From the Theatre Company to Art as Vehicle

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Book SynopsisThis lavishly illustrated book is a full-length study of Inigo Jones as a stage-designer. Jones's designs for the Stuart court masques (and associated court entertainments) between 1605 and 1640 played a crucial role in transmitting the visual language of the Italian Renaissance tradition into English culture, where, because of geographical and historical factors, it had not yet become acclimatized. John Peacock shows that almost all of Jones's designs were copied and adapted from Italian and continental sources (many identified here for the first time), and argues that this is to be understood in terms of 'imitation', a concept and a practice central to the very tradition of which Jones is a messenger and propagandist. His exploration adds an alternative dimension to our knowledge and understanding of a figure who is generally considered the most important English artist of the seventeenth century.Trade Review'… again and again Peacock astonishes with the sharpness of his eye, finding and demonstrating the source for this or that detail of a Jones design in prints that are often widely separated in origin.' John Orrell, Around the GlobeTable of ContentsList of plates; Acknowledgements; List of abbreviations; Introduction: the court masque; 1. The theory and practice of imitation; 2. The masques as pictures; 3. Architecture; 4. Figures; 5. Landscape; 6. Ornament; 7. Antiquity; Conclusion; Notes; Bibliography; Index.

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Book SynopsisThis book describes the theatres of the time of Shakespeare and Ben Jonson in the light of the contemporary architectural thought and building design. John Orrell incorporates recent discoveries about the structure of theatres such as the Red Lion playhouse (1567) and the Paved Court Theatre, Somerset House (1632) in a re-examination of old assumptions about their design and origins.Table of ContentsPreface; Acknowledgements; Prologue; Part I. Festive Theatres: 1. Goodly theatres; 2. The festive tradition; 3. Goodly devices: emblematic design; 4. The stage cover; 5. John Norden's pictures of the theatres; 6. This majestical roof; 7. The Elizabethan Banqueting House, Whitehall; Part II. Serlian Theatres: 8. The Christ Church theatre; 9. Serlio's theatre plan; 10. This goodly frame: the public theatres; 11. The Court theatres; 12. The private theatres; Part III. Serlian Scenes: 13. Serlio's measurable scene designs; 14. Inigo Jones's scene designs; Appendix: Serlio's virtual field of vision; Notes; Index.

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Book SynopsisThis book traces the career of the Russian revolutionary theatre director, Vsevolod Meyerhold, from his early years as a founding member of the Moscow Art Theatre with Stanislavsky and Nemirovich-Danchenko, through his Symbolist period, his experiments with commedia dell'arte and other popular forms, to his demise in the Stalin era. Leach describes in detail Meyerhold's 'system' of theatre: his attitude to the audience, the place of the fore stage, 'biomechanics' and actor training, and the importance of the mise-en-scÃne. Finally, Leach explores Meyerhold's legacy, which can be detected in the work of Brecht, Eisenstein, Peter Brook and others.Trade Review'Robert Leach's monograph provides lucid and essential insight into the magnificent modernist Vsevolod Meyerhold … a valuable and illuminating book.' Plays and Players'Few Meyerhold scholars have contributed as lucid and insightful an understanding of Meyerhold's theories as Leach manages … Vsevolod Meyerhold is a cogently written overview of a fascinating theatrical era.' Theatre ThreeTable of ContentsList of illustrations; Preface; 1. A life; 2. The fourth dimension; 3. The actor's business; 4. The mise-en-scène; 5. Rhythm; 6. Meanings; 7. Masquerade; 8. Meyerhold and Mayakovsky; 9. The legacy; Chronology; List of Meyerhold's productions; Notes; Select bibliography; Index.

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Book SynopsisBringing together buildings, people and plays, this Introduction examines the features that characterise modern and current British theatre. These features include experimental performances under motorways alongside plays by Stoppard and Ayckbourn, amateur theatre and virtual spaces, the emergence of the director, the changing role of writers and political shows.Table of ContentsForeword; 1. Where it happens: National theatre; Buildings and their people; Against the theatre institution; Shows without theatres; 2. Who does it: The organisation of actors and companies; What actors do; Directors; Writers; 3. What they make: The readable tradition; Poetic drama; Realisms; Deferring to the real: theatre as document; Cruelties; Other than words; 4. Why they do it: Movements and manifestos; Making good theatre; Afterword.

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Book SynopsisScenography â the manipulation and orchestration of the performance environment â is an increasingly popular and key area in performance studies. This book introduces the reader to the purpose, identity and scope of scenography and its theories and concepts. Settings and structures, light, projected images, sound, costumes and props are considered in relation to performing bodies, text, space and the role of the audience. Concentrating on scenographic developments in the twentieth century, the Introduction examines how these continue to evolve in the twenty-first century. Scenographic principles are clearly explained through practical examples and their theoretical context. Although acknowledging the many different ways in which design shapes the creation of scenography, the book is not exclusively concerned with the role of the theatre designer. In order to map out the wider territory and potential of scenography, the theories of pioneering scenographers are discussed alongside the woTrade Review'The writing style is accessible and inviting; lucid, economic and reasoned, entirely suitable to the purpose of the book. For the undergraduate market the writing is appropriately academic and yet maintains a personable voice.' Fred Meller, Central Saint Martins College of Art and Design, Performance Design and Practice'What makes [the book] successful is the range of scenographers it considers, from Appia in the early twentieth century to Robert Wilson in the late twentieth and early twenty-first century. … Each section is impressively documented with photographs and illustrations. The combination of text and illustrations makes the book complete, inviting, and a great introduction for students and their instructors.' Theatre Design and Technology'This book is excellent as an introduction to the study of scenography for undergraduate students. It provides both an examination of the theories of key practitioners and a foundation in the techniques of critical analysis. … the range of twentieth-century theorists and practitioners chosen and discussed by McKinney and Butterworth equips the student reader with an understanding of the emergence of scenography as both a way of thinking about how theatre is made and experienced, and as a set of related strategies and practices.' Rachel Nicholson, Rose Bruford College of Theatre and Performance'McKinney's and Butterworth's textbook is a coherent and thoughtful examination of the subject that weaves together primary sources and contemporary scholarship as it maps out an understanding of how scenography works physically, technologically, philosophically and culturally.' Theatre Research internationalTable of ContentsPreface; Part I. Elements: 1. What is scenography?; 2. Twentieth-century pioneers of scenography; Part II. Processes of Scenography: 3. Text as conditioner of image; 4. Recognising and realising space; 5. Technology as performance; Part III. Realisation and Reception: 6. Analysis of scenography; 7. Reception of scenography; 8. Completion and exchange of the image.

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Book SynopsisBringing together buildings, people and plays, this Introduction examines the features that characterise modern and current British theatre. These features include experimental performances under motorways alongside plays by Stoppard and Ayckbourn, amateur theatre and virtual spaces, the emergence of the director, the changing role of writers and political shows.Table of ContentsForeword; 1. Where it happens: National theatre; Buildings and their people; Against the theatre institution; Shows without theatres; 2. Who does it: The organisation of actors and companies; What actors do; Directors; Writers; 3. What they make: The readable tradition; Poetic drama; Realisms; Deferring to the real: theatre as document; Cruelties; Other than words; 4. Why they do it: Movements and manifestos; Making good theatre; Afterword.

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Book SynopsisFor anyone producing costumes on a small budget, whether for schools, colleges or amateur, semi-professional or professional groups, this basic introduction offers practical advice for every kind of play, together with drawings, diagrams and patterns from which to work.

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Book SynopsisIn this guide, Peter Maccoy examines the qualities and skills necessary for effective stage management, stressing the importance of understanding both the creative and the technical processes involved in theatre. The advice featured covers such topics as contracts, rehearsals and performance.

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Book SynopsisNick Moran is Lecturer for Lighting Design at Central School of Speech and Drama.Trade Review'His years in teaching have given him a framework to hang the logic and protocol of lighting on, while keeping the essential love of the art and the respect for the craft...There are acres of wisdom on production interaction and safety, mostly with respect to drama, although the other art forms are covered too.' The Stage (Jan 2008)

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Book SynopsisGill Foreman is Acting Head of the Young People's Programme at the Royal Shakespeare Co. and former Director of Education at the Bristol Old Vic.Trade Review'With contributions from across the industry, this new and up-to-date guide will be essential for all those planning their careers.' AS Magazine (Amateur Stage) (September 2009) 'Gill Foreman's book shows clearly what goes on backstage and how the industry works. Put this book on the shelves of your school and/or drama libraries and do your best to persuade your colleagues in the careers department to invest a copy.' Teaching Drama (Spring Term 2 2009/2010) 'It hugely conveys the work and effort that make possible your theatre night out' Noda Theatre Business

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Book SynopsisAll actors and acting teachers need The Ultimate Scene and Monologue Sourcebook, the invaluable guide to finding just the right piece for every audition. This remarkable book describes the characters, action, and mood for more than 1,000 scenes in over 300 plays. This unique format is ideal for acting teachers who want their students to understand each monologue in context.  Using these guidelines, the actor can quickly pinpoint the perfect monologue, then find the text in the Samuel French or Dramatist Play Service edition of the play. Newly revised and expanded, the book also includes the author’s own assessment of each monologue.

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

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

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Book SynopsisChemist and illusionist John Henry Pepper (1821â1900) lectured at the Royal Polytechnic Institution in London, and incorporated experiments, illusions and magic lanterns into his popular science lectures. In 1862 he developed a stage-show illusion called 'the ghost'. This involved using strategically placed pieces of glass and specific lighting in order to create the illusion of ghostly figures on stage. The illusion was immensely popular in the second half of the nineteenth century - it was visited by royalty, and Pepper's show toured to America, Canada and Australia. In this book, first published in 1890, Pepper details the history of 'the ghost' and the process of carrying out the illusion. 'Pepper's Ghost' is considered to be a precursor to cinema, and this book will be of interest to those studying the development of popular nineteenth-century culture, the 'entertainment industry', and the origins of cinema.Table of ContentsThe true history of the ghost.

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Book SynopsisGREG GIESEKAM sits on the Board with Ankur Productions and was a Senior Lecturer in Theatre Studies at the University of Glasgow, UK until 2006. His publications on contemporary British theatre and contemporary performance art include A Descriptive Catalogue of the Archive of the National Review of Live Art (a reference website cataloguing over 200 performances, talks and installations from 1986-1996) and Luvvies and Rude Mechanicals? Amateur and Community Theatre in Scotland (Scottish Arts Council, 2000).

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Book SynopsisElizabeth Friendship wrote the system of cutting for Royal WelshCollege of Music and Drama and taught there for over 25 years. Forseveral years she did all the cutting for the Welsh National Opera, andprior to that she cut all costumes at the Citizen's Theatre. Shetrained in Fashion at St Martin's School of Art, London and her firstjob was drafting patterns at J.P Coats.Trade Review'visually handsome' Costume - 2010

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Book SynopsisHamlet: The 30-Minute Shakespeare offers five scenes from this enduring tragedy. The Ghost of Hamlet’s father calls for vengeance, and Hamlet uses the players to prove Claudius guilty. The cutting includes the murder of Polonius, Ophelia’s mad scene, and the timeless “To be or not to be” speech, climaxing in the swordfight and poisoning that bring the story to its riveting end. The edition includes helpful advice by Nick Newlin on how to put on a Shakespeare production in a high school class with novice actors, as well as tips for performing the specific play and recommendations for further resources.Table of ContentsPreface: No Experience Necessary..................................... vi Characters in the Play................................................ vIii Hamlet...................................................................... 1 Appendix 1: Dumbshow.........................................................34 Appendix 2: To Be or Not To Be Speech Breakdown .............37 Performing Shakespeare................................................... 39 Performance Notes: Hamlet............................................... 58 Set and Prop List.............................................................. 68 Sample Program............................................................... 69 Additional Resources......................................................... 70

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Book SynopsisThis volume presents a collection of original papers at the intersection of philosophy, the history of science, cultural and theatrical studies. Based on a series of case studies on the 17th century, it contributes to an understanding of the role played by instruments at the interface of science and art. The papers pursue the hypothesis that the development and construction of instruments make a substantive contribution to the opening of new fields of knowledge, the development of new cultural practices, but also to the delineation of particular genres, methods, and disciplines. This perspective leads the authors to reflect anew on what actually defines an instrument and to develop a series of basic questions to determine what an instrument is - which actions does the instrument incorporate? – which actions does the instrument make possible? - when do the objects of examination themselves become instruments? – what skills are required to use an instrument, which skills does it produce? With its combination of new theoretical models and historical case studies, its detailed demonstration of the mutual influence of art and science with the instrument as the point of intersection, this volume enters new territory. It is of great value for all those interested in the history of our perception of instruments. Besides the editors, the authors of the papers are: Jörg Jochen Berns, Olaf Breidbach, Georges Didi-Huberman, Peter Galison, Sybille Krämer, Dieter Mersch, Hans-Jörg Rheinberger, Wilhelm Schmidt-Biggemann, and Otto Sibum.

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