Aeschylus was the first of the three ancient Greek tragedians whose plays can still be read or performed, the others being Sophocles and Euripides. He is often described as the father of tragedy: our knowledge of the genre begins with his work and our understanding of earlier tragedies is largely based on inferences from his surviving plays. Only seven of his estimated seventy to ninety plays have survived into modern times. Fragments of some other plays have survived in quotes and more continue to be discovered on Egyptian papyrus, often giving us surprising insights into his work.

Fire For Effect is a WWII story, but not of the ordinary kind. Based on a true incident, it involves a little known, but vitally important branch of Military Intelligence - the IPWs - Interrogators of Prisoners of War. It is the story of a battle of wits between two officers, good men both, with strong convictions, integrity and a firm sense of duty - but on opposite sides. And it concerns a potentially catastrophic event about to happen.

A test pilot, veteran of Desert Storm, crashes while testing a top secret military device. His injuries rob him of his memory, reducing him to the level of an animal - but an animal with the intelligence and reasoning power of a man, and the fear and desperation of a hunted beast. He leads the men who would save him on a fantastic chase through the desolate and hostile country of Death Valley, pitting animal instinct against sophisticated technology.

This is a screenplay; which eight friends want; to do a documentary; of an abandon mental institution; it seems that they meet some unsuspected; vistors; then; all of sudden; all hell breaks loose.

Have you ever gathered around a cowboy's campfire on a pitch black night, and felt like someone was standing beside you in the dark? Have you ever heard scratching on the side of your tent, and hoped it was only a tumbleweed? There are TWO ways to have fun with Creepers Mysteries. Enjoy reading the BOOK (in the front). Star in your own Movie for the Ear using the SCRIPT (in the back). You'll have a blast Harry, Gillian and Arvin visit Smokey Joe's Ranch and go on an authentic cattle drive. They find out just how authentic when they land in the middle of a century-old mystery between a bandit and a bounty hunter from the Old West.

In 1997, a BAFTA award-winning British film about six out of work Sheffield steelworkers with nothing to lose took the world by storm. And now they're back, live on stage, only for them, it really has to be The Full Monty. Simon Beaufoy, the Oscar-winning writer of the film, has now gone back to Sheffield where it all started to rediscover the men, the women, the heartache and the hilarity of a city on the dole. The Full Monty was the winner of the UK Theatre Best Touring Production award 2013.

On Screenwriting and Love and Politics is a book by screenwriter Aviva Butt that invites the reader to take an up close view at writing a film script. Written in an engaging literary style, the book attempts to illuminate the emotions, theories, and process that go into crafting a screenplay. As a special appendix, the book includes the author's latest full-length screenplay "Blue Mist." On Screenwriting and Love and Politics also features an introduction from Gaetano Nino Martinetti, an award-winning cinematographer who contributes his views on the role of cinematography in making movies. "I write about love and politics. My screenplays are theatrical feature films on Middle Eastern subjects. This time with my screenplay "Blue Mist," the world situation and the Middle East come to New Zealand." - Aviva Butt Although she was born and raised in New York City, author Aviva Butt has lived all over the world and currently resides in Dunedin, New Zealand. Aviva is a prolific writer who has authored poems, short stories, screenplays, and two previous books. She has also translated many poems and short stories from Arabic and other languages. When she is not writing, Aviva enjoys going to the movies and listening to Indian and Middle Eastern music. Publisher's website: http: //sbpra.com/AvivaButt

Everything you'll ever need to know about spec screenplay formatting is found here. Learn about the Seven Screenplay Elements and what they do. Discover writing tips to help enliven your Dialogue and Direction. Recognize what to capitalize and when. Learn to format common screenplay techniques such as telephone conversation, foreign language dialogue, flashbacks, montages, talking animals, and much, much more This truly is the last book on spec screenplay formatting you'll ever need to own
"Your CUT TO: Is Showing is a valuable and exhaustive new book, loaded with practical examples, that deserves to be on the shelf of aspiring (and professional) writer everywhere."
-Ben Cahan, co-creator of Final Draft and founder of Talentville.com
"This is without a doubt the BEST script format guide I've ever come across-and believe me, I've read 'em all. . . . Your CUT TO: Is Showing is an absolute must-have and must-read. I'm serious, get this book."
-Jim Vines, screenwriter and author of Q & A: The Working Screenwriter
" Your CUT TO: Is Showing "is the most comprehensive, inclusive and up-to-date book on screenwriting I have ever read."
-Robert Joseph, screenwriter of Divine Love

Jason had it all until his addiction finally caught up with him. After being court ordered to serve 28 days in a substance abuse facility, he loses it all. Jason learns to change his selfishness into charity for others as he bonds and forms a family with fellow addicts. This inspires him to develop the 28 Tee-Shirts Calendar Method.

I hope readers will enjoy creating Reckless Dreaming as a movie in their mind. That is ahead of any possible theatrical production. - Nick David, Screenwriter

ALEC MYERS is smart, good looking, rich ... and dead. After an accident, he winds up on "the other side," where he must face some unpleasant truths about himself. Just as he's about to get a second chance, his ex-wife donates his heart for transplant, complicating his return to life, his search for a lost romance, and his redemption in a daring act of courage.

Caesar and Cleopatra, a play written in 1898 by George Bernard Shaw, was first staged in 1901 and first published with Captain Brassbound's Conversion and The Devil's Disciple in his 1901 collection, Three Plays for Puritans. It was first performed at Newcastle-on-Tyne on March 15, 1899. The first London production was at the Savoy Theatre in 1907. The famous scene in which Cleopatra, concealed in a rolled-up carpet, is smuggled into Caesar's presence was credited by Otto Skorzeny as the inspiration for his doing the same to his kidnapping victim Miklos Horthy, Jr. in 1944 during Operation Panzerfaust. Shaw wants to prove that it was not love but politics that drew Cleopatra to Julius Caesar. He sees the Roman occupation of ancient Egypt as similar to the British occupation that was occurring during his time. Caesar understands the importance of good government, and values these things above art and love. Shaw's philosophy has often been compared to that of Nietzsche. Their shared admiration for men of action shows itself in Shaw's description of Caesar's struggle with Pompey. In the prologue, the god Ra says, "the blood and iron ye pin your faith on fell before the spirit of man; for the spirit of man is the will of the gods." A second theme, apparent both from the text of the play itself and from Shaw's lengthy notes after the play, is Shaw's belief that people have not been morally improved by civilization and technology. A line from the prologue clearly illustrates this point. The god Ra addresses the audience and says, "ye shall marvel, after your ignorant manner, that men twenty centuries ago were already just such as you, and spoke and lived as ye speak and live, no worse and no better, no wiser and no sillier." Another theme is the value of clemency. Caesar remarks that he will not stoop to vengeance when confronted with Septimius, the murderer of Pompey. Caesar throws away letters that would have identified his enemies in Rome, instead choosing to try to win them to his side. Pothinus remarks that Caesar doesn't torture his captives. At several points in the play, Caesar lets his enemies go instead of killing them. The wisdom of this approach is revealed when Cleopatra orders her nurse to kill Pothinus because of his "treachery and disloyalty" (but really because of his insults to her). This probably contrasts with historical fact. The murder enrages the Egyptian crowd, and but for Mithridates' reinforcements would have meant the death of all the protagonists. Caesar only endorses the retaliatory murder of Cleopatra's nurse because it was necessary and humane.

Director Martin Scorsese, the legendary storyteller, decided to make his first-ever 3D film based on the Brian Selznick illustrated novel which he read four years ago, immediately connected to, and then shared with his youngest daughter. In reading books to my daughter, we re-experience the work. So it's like rediscovering the work of art again, but through the eyes of a child. He decided to turn to a different film format, and screenwriter John Logan was chosen to turn Selznick's words and illustrations and transform them into a screenplay. He had to cut and change some elements of the book, but, as Selznick says in his introduction: John performed a kind of magic trick. He took my story and turned it inside out. He turned it into a story that feels like it was always meant to be a movie, and yet he also took the time to celebrate books [and] all happens in the context of a gigantic, glorious, heartfelt, cinematic masterpiece just makes it all the more meaningful. "Hugo" is the astonishing adventure of a wily and resourceful boy whose quest to unlock a secret left to him by his father will transform Hugo and all those around him, and reveal a safe and loving place he can call home. Scorsese has assembled an impressive acting ensemble comprised of rising new talent working alongside venerated stars of the stage and motion pictures, including Ben Kingsley, Sacha Baron Cohen, Asa Butterfield, Chloe Grace Moretz, Ray Winstone, Emily Mortimer, Helen McCrory, Christopher Lee, Richard Griffiths, Frances De La Tour, Michael Stuhlbarg, and with Jude Law.

This book is a combination how-to for screenwriters and a memoir of a woman's journey to becoming a working writer in Hollywood. It is vital instruction for writers of all genres who want to learn to get to story fast. Filled with stories from the show biz trenches, it educates as well as entertains.

Grandpa sees monsters everywhere. Are they real? This creepy one act play for four actors can be performed, royalty free by educational institutes and non-profit theaters.