Model, texture and animate with Cinema 4D 11 using the techniques and tips provided in Cinema 4D 11 Workshop. Starting with all of the basic concepts, functions, and tools - follow along to the workshop tutorials that deliver a hands-on knowledge of the new R11 toolset as well as the returning advanced features. The companion website provides all of the required tutorial media from the projects in the book so that you create your own working models and animations.

Aesthetic theory in the West has, until now, been dominated by ideas of effect, autonomy, and reception. Transformative Aesthetics uncovers these theories' mutual concern with the transformation of those involved. From artists to spectators, readers, listeners, or audiences, the idea of transformation is one familiar to cultures across the globe. Transformation of the individual is only one part of this aesthetic phenomenon, as contemporary artists are increasingly called upon to have a transformative, sustainable impact on society at large. To this end, Erika Fischer Lichte and Benjamin Wihstutz present a series of fresh perspectives on the discussion of aesthetics, uniting Western theory with that of India, China, Australia, and beyond. Each chapter of Transformative Aesthetics focuses on a different approach to transformation, from the foundations of aesthetics to contemporary theories, breaking new ground to establish a network of thought that spans theatre, performance, art history, cultural studies, and philosophy.

Here is a visual feast in the tradition of 1990s club kids. See performance artists JoJo Baby and Sal-E use their bodies as canvases to become inspired and whimsical conceptual characters, executed with expert skill using original, theatrical makeup and costumes. In more than 100 portraits, photographer Bernard Colbert rigorously captures these two performance artists in genius moments as psychedelic Hindi gods, comic book villains, fantastical creatures, astronauts, and much, much more. Colbert's stunning portraits document these delightful transformations over a five-year period and are the same body of work featured in the Clive Barker documentary titled JoJo Baby. Through Colbert's collaboration with JoJo and Sal, viewers can experience a front row seat to an ongoing show which has been entertaining club goers in Chicago for two decades. This is a portfolio for the visually adventuress and fans of true creative vision.

Originally published in 1978. Between 1830 and 1890 the English theatre became recognisably modern. Standards of acting and presentation improved immeasurably, new playwrights emerged, theatres became more comfortable and more intimate and playgoing became a national pastime with all classes. The actor's status rose accordingly. In 1830 he had been little better than a social outcast; by 1880 he had become a member of a skilled, relatively well-paid and respected profession which was attracting new recruits in unprecedented numbers. This is a social history of Victorian actors which seeks to show how wider social attitudes and developments affected the changing status of acting as a profession. Thus the stage's relationship with the professional world and the other arts is dealt with and is followed by an assessment of the moral and religious background which played so decisive a part in contemporary attitudes to actors. The position of actresses in particular is given special consideration. Many non-theatrical sources are used here and there is a survey of salaries and working conditions in the theatre to show how the rising social status of the actor was matched by changes in his theatrical standing. A novel area of study is covered in tracing the changing social composition of the acting profession over the period and in exploring the case-histories of three generations of performers.

Originally published in 1981. This study concentrates on one aspect of Victorian theatre production in the second half of the nineteenth century - the spectacular, which came to dominate certain kinds of production during that period. A remarkably consistent style, it was used for a variety of dramatic forms, although surrounded by critical controversy. The book considers the theories and practice of spectacle production as well as the cultural and artistic movements that created the favourable conditions in which spectacle could dominate such large areas of theatre for so many years. It also discusses the growth of spectacle and the taste of the public for it, examining the influence of painting, archaeology, history, and the trend towards realism in stage production. An explanation of the working of spectacle in Shakespeare, pantomime and melodrama is followed by detailed reconstructions of the spectacle productions of Irving's Faust and Beerbohm Tree's King Henry VIII.

The Poetics of Radical Hope: The Abderrhamane Sissako Experience communicates pieces of evidence that Sissako is the most talented and the most sophisticated filmmaker of his generation. This imaginative excellence emanates from new aspirations to fashion an original African cinematic aesthetic for a politic of radical hope and creative adaptation. Sissako's contribution extends to all aspects of the indigenous motion pictures industry to help rebuild the continent's cultural infrastructures and create intellectual and cultural spaces to mobilize narrative strategies to contribute in the making of potent African collectives. Far from being abstract, Sissako's logic of contribution resists facile reading and demands a direct and profound engagement with the text. Sissako is one of the best filmmakers working today because his cinema constitutes a generative contribution to the contemporary production of African intelligibility. This logic of contribution helps to better articulate the historical logics and practices of a continent in constant throes of situational emergencies. The cinemas confront African colonial legacies to contemporary globalization discourses that grip the contemporary global condition, notably: political instability, poverty, illiteracy, digital divide, global warming and food shortages, diseases and the so-called "clash of civilization."

Black British Drama: A Transnational Story looks afresh at the ways black theatre in Britain is connected to and informed by the spaces of Africa, the Caribbean and the USA. Michael Pearce offers an exciting new approach to reading modern and contemporary black British drama, examining plays by a range of writers including Michael Abbensetts, Mustapha Matura, Caryl Phillips, Winsome Pinnock, Kwame Kwei-Armah, debbie tucker green, Roy Williams and Bola Agbaje. Chapters combine historical documentation and discussion with close analysis to provide an in-depth, absorbing account of post-war black British drama situated within global and transnational circuits. A significant contribution to black British and black diaspora theatre studies, Black British Drama is a must-read for scholars and students in this evolving field.

Lying deep within the urban metropolis of Hong Kong, Happy Valley is one of the most iconic racecourses in the world. It is also the chief source of inspiration for a new body of work by American artist Marcel Dzama. Jockeys ride through waves and cathedrals, Chinese symbols pulled from racing paraphernalia adorn the edges of paper, and bats swoop, hunting for prey. Dzama's distinct visions of the racetrack come alive through a series of large-scale paintings and drawings, transposing imagery from his prolific oeuvre into this adrenaline-filled sporting arena. His new works reflect on the culture of horseracing and how the track has become not only a symbol of sport, but also of commerce, class, and wealth. This publication includes a conversation between Dzama and Laila Pedro. Published on the occasion of his solo exhibition at David Zwirner, Hong Kong, in 2019, Marcel Dzama: Crossing the Line is available in both English only and bilingual English/traditional Chinese editions.

J.R.R. Tolkien's complete artwork for "The Hobbit," presented for the first time in celebration of the 75th anniversary
When J.R.R. Tolkien wrote "The Hobbit," he was already an accomplished amateur artist, and drew illustrations for his book while it was still in manuscript. "The Hobbit" as first printed had ten black-and-white pictures, two maps, and binding and dust jacket designs by its author. Later, Tolkien also painted five scenes for color plates, which comprise some of his best work. His illustrations for "The Hobbit" add an extra dimension to that remarkable book, and have long influenced how readers imagine Bilbo Baggins and his world.
Written and edited by leading Tolkien experts Wayne G. Hammond and Christina Scull, "The Art of The Hobbit""by J.R.R. Tolkien" showcases the complete artwork created by the author for his story--including related pictures, more than one hundred sketches, drawings, paintings, maps, and plans. Some of these images are published here for the first time, others for the first time in color, allowing Tolkien's "Hobbit" pictures to be seen completely and more vividly than ever before.

Black British Drama: A Transnational Story looks afresh at the ways black theatre in Britain is connected to and informed by the spaces of Africa, the Caribbean and the USA. Michael Pearce offers an exciting new approach to reading modern and contemporary black British drama, examining plays by a range of writers including Michael Abbensetts, Mustapha Matura, Caryl Phillips, Winsome Pinnock, Kwame Kwei-Armah, debbie tucker green, Roy Williams and Bola Agbaje. Chapters combine historical documentation and discussion with close analysis to provide an in-depth, absorbing account of post-war black British drama situated within global and transnational circuits. A significant contribution to black British and black diaspora theatre studies, Black British Drama is a must-read for scholars and students in this evolving field.

A classic bestseller by one of the most important theatre practitioners of the 20th and early 21st centuries. This handbook has sold over 90,000 copies to students, teachers and theatre makers, giving them a broad range of theatre exercises to use in classrooms, rehearsals and community projects. Makes social and community theatre fun, engaging and easily accessible for a broad audience. No other book sets out all of Boal's methods in one place, not least in such a clear, practical manner.

Daniel B. Reed integrates individual stories with the study of performance to understand the forces of diaspora and mobility in the lives of musicians, dancers, and mask performers originally from Cote d'Ivoire who now live in the United States. Through the lives of four Ivorian performers, Reed finds that dance and music, being transportable media, serve as effective ways to understand individual migrants in the world today. As members of an immigrant community who are geographically dispersed, these performers are unmoored from their place of origin and yet deeply engaged in presenting their symbolic roots to North American audiences. By looking at performance, Reed shows how translocation has led to transformations on stage, but he is also sensitive to how performance acts as a way to reinforce and maintain community. Abidjan USA provides a multifaceted view of community that is at once local, national, and international, and where identity is central, but transportable, fluid, and adaptable.

Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? Girl Head explores how gender and sexual difference have been deeply embedded within film materiality. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. This original work of feminist media history shows how gender has had a persistent role in film production processes, well before the image ever appears onscreen.

From Victorian breakthroughs in synthesising pigments to the BBC’s conversion to chromatic broadcasting, the story of colour’s technological development is inseparable from wider processes of modernisation that transformed Britain. This revolutionary history brings to light how new colour technologies informed ideas about national identity during a period of profound social change, when the challenges of industrialisation, decolonisation of the Empire and evolving attitudes to race and gender reshaped the nation. Offering a compelling new account of modern British visual culture that reveals colour to be central to its aesthetic trajectories and political formations, this chromatic lens deepens our understanding of how British art is made and what it means, offering a new way to assess the visual landscape of the period and interpret its colourful objects.   Across a kaleidoscopic array of materials, from radiant paintings by major Victorian artists, vivid print advertisements and vibrant interwar fashion photographs, to glorious Technicolor films and the prismatic programmes of the BBC’s early years of colour television, The Rainbow’s Gravity reveals how Britain modernised colour and how colour, in turn, modernised Britain. Distributed for the Paul Mellon Centre for Studies in British Art

Music, Dance, Affect, and Emotions in Latin America is a collection of essays that analyze different manifestations of Argentine music and dance taking advantage of the exciting new theoretical developments advanced by the current affective turn. Contributors deal with the relationship between music, dance, affects, feelings, and emotions in different scenarios and show how the embodiment of music shape the experiential in ways that may impact upon but nevertheless many times evade conscious knowing. This book is one of the first academic attempts (regardless of region or country of scope) to try to solve some of the most important problems the affective turn has identified regarding how music and dance have been researched so far, such as the tendency, in representational accounts of music, to ignore the sensory and sonic registers to the detriment of the embodied and lived registers of experience and feeling that unfold in the process of making or listening to music.

This is the first in-depth examination of contemporary intercultural performance by women around the world. Contemporary feminist performance is explored in the contexts of current intercultural practices, theories and debates. Holledge and Tompkins provide ways of thinking about and analysing contemporary performance and representations of the performing, female, culturally-marked body. The book includes discussions of: * ritual performance by women from Central Australia and Korea * the cultural exchange of A Doll's House and Antigone * plays from Algeria, South Africa and Ghana * the work of the Takarazuka revue company * the market forces that govern the distribution of women and women's performance. This is an essential read for anyone studying or interested in women's performance.

From Commedia dell'Arte came archetypal characters that are still with us today, such as Harlequin and Pantalone, and the rediscovered craft of writing comic dramas and masked theatre. From it came the forces that helped create and influence Opera, Ballet, Pantomime, Shakespeare, Moliere, Lopes de Vega, Goldoni, Meyerhold, and even the glove puppet, Mr Punch. The Routledge Companion to Commedia dell'Arte is a wide-ranging volume written by over 50 experts that traces the history, characteristics, and development of this fascinating yet elusive theatre form. In synthesising the elements of Commedia, this book introduces the history of the Sartori mask studio; presents a comparison between Gozzi and Goldoni's complicated and adversarial approaches to theatre; invites discussions on Commedia's relevance to Shakespeare, and illuminates re-interpretations of Commedia in modern times. The authors are drawn from actors, mask-makers, pedagogues, directors, trainers, and academics, all of whom add unique insights into this fundamental pillar of western theatre. Notable contributions include: * Donato Sartori on the twentieth century Sartori mask * Rob Henke on the Form and Freedom in Commedia Improvisation * Anna Cottis on Carlo Boso * Didi Hopkins on One Man, Two Guv'nors * Kenneth Richards on acting companies * Antonio Fava on Commedia dell'Arte * Joan Schirle on Carlo Mazzone-Clementi and women in Commedia * M. A. Katritzky on Commedia Iconography.

The artist Mark Hearld finds his inspiration in the flora and fauna of the British countryside: a blue-eyed jay perched on an oak branch; two hares enjoying the spoils of an allotment; a mute swan standing at the frozen water's edge; and a sleek red fox prowling the fields. Hearld admires such twentieth-century artists as Edward Bawden, John Piper, Eric Ravilious and Enid Marx, and, like them, he chooses to work in a range of media - paint, print, collage, textiles and ceramics. Work Book is the first collection of Hearld's beguiling art. The works are grouped into nature-related themes introduced by Hearld, who narrates the story behind some of his creations and discusses his influences. He explains his particular love of collage, which he favours for its graphic quality and potential for strong composition. Art historian Simon Martin contributes an essay on Hearld's place in the English popular-art tradition, and also meets Hearld in his museum-like home to explore the artist's passion for collecting objects, his working methods and his startling ability to view the wonders of the natural world as if through a child's eyes.

Published in 1999, 'Theatre of Animation' is a valuable addition to the field of performance.

First Published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.

First Published in 1997. This is Volume 3, Part 2 in the Choreography and Dance journal and looks at the dance and the theatre of Kurt Jooss, in context of his times of birth, his evolution of as an artist, Jooss as a teacher and his ballets.