This volume presents a selection of essays by established Italian and international scholars in the field of Romantic drama. It is divided into four main sections: 1) Dramatic Theory and Practice; 2) On the Romantic Stage: History, Arts, and Acting; 3) Interaction of Genres: from Fiction to Drama; 4) The Romantics' Debate on Theatre and Drama: a Selected Anthology. The crucial area of debate these essays address is the way in which the problem of the dramatic representation of the self becomes in Romantic drama the very centre of reflection on the constitution of the modern subject. Each essay explores one or more aspects of the formation of modern subjectivity through dramatic representation of the self and through critical enquiry into the modes of that representation. The first and the fourth sections discuss the complex interaction between the theoretical questions that animated the debate around the Romantic theatre and the multifarious and often unruly performance practices of the time. The other two sections deal with the many and diverse ways in which Romantic drama engaged with and incorporated other artistic genres such as painting, performing arts, music, and the novel.

The Visual Life of Romantic Theater examines the dynamism and vibrancy of stage spectacle and its impact in an era of momentous social upheaval and aesthetic change. Situating theatrical production as key to understanding visuality ca. 1780-1830, this book places the stage front and center in Romantic scholarship—a field in a period long defined by its focus on poetic poetry—by reenvisioning traditional approaches to artistic and social production. How, it asks, did dramaturgy and stagecraft influence aesthetic and sociopolitical concerns? How does a focus on visuality expand our understanding of the historical experience of theatergoing? In what ways did stage performance converge with visual culture beyond the theater? How did extra-theatrical genres engage with theatrical sight and spectacle? Finally, how does a focus on dramatic vision change the way we conceive of Romanticism itself? The volume’s essays by emerging and established scholars provide exciting and suggestive answers to these questions, along with a capacious conception of Romantic theater as a locus of visual culture that reached well beyond playhouse walls.

This book throws new light on the complexity and variety of practices which may be defined as 'theatrical' in a broad sense in sixteenth- and seventeenth-century English drama. The volume deals first with the mainstream of dramatic production, starting from the anti-theatrical debate which characterized the whole period and increased in intensity as it went on. Here Shakespeare and Ben Jonson come on stage with their rejoinders to this issue. At the same time, while the universities were offering a kind of theatre workshop importing Latin and Italian models, popular performances were being staged in non-theatrical spaces. Tournaments, and their aristocratic codes, are explored as well as more popular and 'marginal' spectacles -- such as those of conny-catching improvisers, jugglers, gypsy dancers and fortune-tellers, clowns and prophetesses.

This book examines the ritualistic and mythological features derived from various religious traditions depicted in ten Ibsen plays. The worshipping of the Great Mother, the Mysteries of Eleusis, the Hebrew Passover Meal and Yom Kippur, alongside with the most sacred feasts of Christianity, are identified in Ibsen's texts in a way not discovered before. The outcome is a fascinating voyage through a landscape of ritualistic visions. Throughout the book the author illustrates how the plays contribute to the revival of the sacred in modernist theatre. Each chapter of the book contains a synopsis of the play interpreted, followed by a detailed analysis, which focuses on religious concepts and mythological elements incorporated in Ibsen's texts. The following plays are interpreted: Emperor and Galilean, Brand, Peer Gynt, A Doll's House, The Wild Duck, Rosmersholm, The Lady from the Sea, Hedda Gabler, The Master Builder, When We Dead Awaken.

Taking a new approach to the metaphor of the political body, this book examines Shakespeare's representation of that body as possessing epistemological faculties. The theater is one of these faculties, and is, therefore, essential to the health and survival of the Early Modern state. By depicting the theater as an essential faculty of the body politic, Shakespeare offers a defense of the theater against anti-theatrical critics. Students and teachers interested in the body and its representations in literature will find this text illuminating as will those scholars whose work focuses on knowledge, its relationship to the body, ways of knowing, and anti-theatrical prejudice.

This book explores the interplay between global and local influences in theatre festivals in the German-speaking border region around Lake Constance. Whilst opening up a fascinating yet under-researched theatre region to academic study, it also provides much-needed empirical grounding for often vague theories of place, globalisation and culture. Do we really live in a 'shrinking world' dominated by a homogenising global culture industry, or are we experiencing the revival of 'local particularism'? To what extent is an apparently place-dependent cultural form such as theatre affected by the processes of cultural globalisation? Through detailed analysis of theatrical case studies from Lake Constance and the application of an interdisciplinary theoretical framework, this book begins to answer such important questions. The empirical focus is on the defining features of the Lake Constance region: the beautiful and often romanticised natural landscape of lake and mountains, and the presence of the nation-state borders which make this the crossroads of the German-speaking world. The author thus examines both open-air summer theatre festivals, such as the internationally renowned Bregenzer Festspiele, and politically focused cross-border theatre festivals, such as the youth festival Triangel.

Maxim Gorky was dubbed the father of socialist realism in the Soviet period, but he had forged his career as an internationally known novelist and dramatist some three or more decades earlier. Posing questions that Soviet critics found difficult to confront, the author examines the effects of exile and religion on the content and form of the plays as well as the role played by women, and the personal and political implications of motherhood. All sixteen of Gorky's published plays are covered, and the book explores whether this body of work has themes and styles to unify it. While conflict is central to the core political themes and also infiltrates many aspects of the dramatic style (cartoonish and grotesque), other less expected themes and styles emerge. Viewing the post-revolutionary plays as a development of earlier work leads to a question rarely posed: are the plays written by Gorky in the process of defining the new Party-inspired socialist realism in fact less about socialist realist issues of conformity, and more about Gorky's own painful life experience? And what is equally under the microscope is a search for the monumental style frequently associated with socialist realist theatre: the proposed origins of the spatial grandeur in Gorky's plays come as a surprise.

"There is No Such Thing as a Natural Disaster" is the first critical scholarly book on the catastrophic impact of Hurricane Katrina on New Orleans. The disaster will go down in record as one of the worst in American history, not least because of the government's generally inept and cavalier response. But it's also a huge story for other obvious reasons. Firstly, the impact of the hurricane was uneven, and race and class (and tied to this, poverty) were deeply implicated in the unevenness. It was not by accident that the poorest and blackest neighborhoods were the ones that were buried under water. Secondly, the response underscored the impoverishment of social policy (or what passes for it) in both George W. Bush's America and more specifically the Republican-dominated South. Thirdly, New Orleans is not just any place - it's a great American city with a rich and unique history. People care about the place and what happens there. Fourthly, what happened and what will happen there can tell us a greatdeal about the state of urban and regional planning in contemporary America.
The book, edited by two eminent scholars/authors, gathers together ten excellent scholars to put forth a multifaceted portrait of the social implications of the disaster. And the disaster was primarily social in nature, as the title reminds us. The book covers the response to the disaster and the roles that race and class played, its impact on housing, the historical context of urban disasters in America, the nature of contemporary metropolitan planning, what the hurricane has taught us about planning, the role of the vast prison system in all of this, the future of economic development, the roles of business andthe media, and how the hurricane disproportionately impacted female headed households. In total, it offers a critical and comprehensive social portrait of the disaster's catastrophic effects on New Orleans.

The Theater of Trauma is a groundbreaking re-reading of the relations between psychology and drama in the age of Eugene O'Neill, Susan Glaspell, and their many brilliant contemporaries. American modernist Theater of Trauma drew its vision from the psychological investigation of trauma and its consequences - among them hysteria and dissociation - made by French and American psychiatrists such as the great Pierre Janet, Alfred Binet, William James, Morton Prince, and W.E.B. Du Bois; the European and American « dissociationist culture that developed around their work; and the resulting trauma of World War I. American dramatists' deep resistance to Freud's suppression of trauma challenges the equation of Freud and modernism that has become commonplace in modernist criticism.

Living the Lighting Life provides practical tools and advice for a successful career in entertainment lighting. This easy-to-navigate guide offers real-world examples and documentation from the author and key industry experts, giving readers a comprehensive overview of the lighting life. The book provides insight on: Different job opportunities in the entertainment lighting industry; Business procedures, contracts, time sheets, and invoices; Tips on self-promotion, networking, and continual learning; The lighting lifestyle, healthy living, and work-related travel; Maintaining and developing creativity to provide innovative lighting and solutions. With insightful interviews from industry veterans, Living the Lighting Life is a key navigational resource for anyone considering a career in entertainment lighting or just starting out.

An invaluable collection of documents and discussions of the work of one of the most significant theatre practitioners of the last fifty years. This unique set of reminiscences, written by one of the actors who worked closely with Kantor over a long period of time, ranges from the anecdotal to the theoretical. Kantor's work offers some of the most disconcerting allegories of Modernism and a quintessential expression of the unconscious during a bitter period of human history. Kantor's stern but affectionate guardianship of his troupe of travelling players comes off Miklaszewski's pages with warmth, humanity and humour.

Nephew of Anton Chekhov and a disciple of Konstantin Stanislavskii, Russian emigre actor Michael Chekhov (1891-1955) created one of the most challenging and inspiring acting theories of the 20th century. This book is a reinterpretation of Chekhov's theory both in the context of the cultural and political milieu of his time and in the light of theatre semiotics: from Prague Structuralism to French Poststructuralism and contemporary performance theory. This work presents Chekhov's understanding of the actor's stage product- stage mask - as a psychological, psychophysical and cultural construct engaged with the mysteries of the actor/character or, what Mikhail Bakhtin describes as the author/hero, dialectical relationships. It offers new horizons in interdisciplinary and intercultural visions on theatre acting described by Chekhov as a most liberating and cathartic process.

This is the first collection of critical essays to appear about the Wooster Group. Since the 1970s this groundbreaking, New York-based performance company has led the way in crystallizing the conditions of contemporary stage practice at the intersection of several cultural and artistic traditions. As demonstrated by the assembled critics, each of them an authority in the field, these traditions extend into the past as well as into the future, through the Wooster Group's impact on the latest generation of performance artists. The company's consequent institutionalization is posited and challenged in the essays constituting Part I of the collection. Part II tackles the work-in-progress, mapping its idiomatic stage vocabulary and providing case studies, ranging from Frank Dell's The Temptation of St. Antony to To You, The Birdie! (Phedre). Part III presents productions by kindred artists such as Elevator Repair Service, the Builders Association, Cannon Company, and Richard Maxwell. Lavishly illustrated with photographs, this collection should prove invaluable to anyone with an interest in the current theatrical scene and its place in the wider institutional, artistic, and historical contexts.

This sixth volume in this established series deals with the biochemical responses of fish to different environmental/ecological factors. Environmental Toxicology captures vital issues affecting the responses of fish to the chemical surroundings of their environment. Chapters included in this volume identify the systems found in fish to deal with xenobiotics, hormonal interactions initiated in the presence of these chemicals, the unique mechanisms used by fish to adjust to the present chemicals, and the new and evolving mixtures of chemicals in their environment. Also included, is a crucial review of the new methods being applied in fish systems to understand the effects of xenobiotics to fish fitness - a key theme in environmental health and critical to the future of fish populations.
* Entirely new topic discussion and most recent volume in the acclaimed series
* Includes chapters detailed on a cellular level
* Introduces discussion of pharmaceutical effects on fish

UNDERSTANDING DIGITAL CINEMA: A PROFESSIONAL HANDBOOK is a comprehensive resource on all aspects of finishing, distributing and displaying film digitally. For technical professionals as well as non-technical decision-makers, the book is a detailed exploration of every component of the process, from mastering to theater management.
* An overview of digital cinema system requirements
* Post production work flow
* Color in digital cinema
* The digital cinema mastering process
* Fundamentals of compression
* Security
* Basics of audio
* Digital distribution
* Digital projection technology
* Theater systems
* The international perspective: Views from Europe, Asia and Latin America
* A realistic assessment of the future of digital cinema
With contributions by:
Richard Crudo, President, American Society of Cinematographers
Leon Silverman, Executive Vice President, Laser Pacific Media Corporation
Charles Poynton, Color Scientist
Chris Carey, Senior Vice President, Studio New Technology, The Walt Disney Studios
Bob Lambert, Corporate Senior Vice President New Technology & New Media,
The Walt Disney Company
Bill Kinder, Pixar Animation Studios
Glenn Kennel, DLP Cinema
Peter Symes, Manager, Advanced Technology, Thomson Broadcast & Media Solutions
Robert Schumann, President, Cinea, Inc., A Subsidiary of Dolby Labs
David Gray, Vice President, Production Services, Dolby Laboratories, Inc.
Darcy Antonellis, Executive Vice President, Distribution and Technology Operations
Warner Bros. Technical Operations Inc. and Senior Vice President, Worldwide Anti-Piracy Operations Warner Bros. Entertainment Inc.
Matt Cowan, Principal and Founder, Entertainment Technology Consultants
Loren Nielsen, Principal and Founder, Entertainment Technology Consultants
Michael Karagosian, Partner, Karagosian MacCalla Partners (KMP)
Peter Wilson, Vice President, Display Technologies, Snell and Wilcox Ltd.
Patrick Von Sychowski, Senior Analyst, Screen Digest
Wendy Aylsworth, Vice President of Technology, Warner Bros. Technical Operations Inc.
* Learn how to manage the change and control costs, from a "who's who" list of the leaders in this ground-breaking field
*Walk away from reading this book with an essential understanding of digital cinema today
* Understand the benefits of the transition to digital cinema

The first edition of Directing in the Theatre represented a pioneering effort in its field. Now, the revised edition offers an expanded array of materials for use in the study of directing. There are new cases about censorship, non-traditional casting, theater safety, ethics, and other subjects of both current and enduring interest. This edition also features the introduction of "Briefs," which are shortened, streamlined cases designed to stimulate discussions about such issues as gender in casting, auditions, giving and taking notes, and learning lines. The number of cases has grown from twenty-two to forty-seven, each of which can be used at both beginning and advanced levels of directing study. The corresponding Instructor's Manual, is available free upon request.

Learn first-rate techniques and tips from some of the best makeup artists in the business in the new edition of The Makeup Artist Handbook. Renown makeup pros Gretchen Davis and Mindy Hall bring an impressive set of experience in all areas to the book, including work on Teenage Mutant Ninja Turtles, Steve Jobs, The Wolf of Wall Street, Blue Jasmine, Star Trek, Pearl Harbor, HBO’s Looking and many other films and TV shows. This full-color, comprehensive new edition offers brand new photographs and on-the-job examples to demonstrate makeup techniques and fundamentals on topics such as beauty, time periods, black and white photography and up-to-date information on cutting-edge techniques like computer-generated characters, makeup effects, mold-making, air brushing, and plenty of information on how to work effectively on set.

Table of Contents

CONTENTS

Preface

Acknowledgments/Dedications

Chapter 1 Shapes

Chapter 2 The Body

Chapter 3 Color

Chapter 4 Lighting

Chapter 5 Technology

Chapter 6 Foundations

Chapter 7 Basics

Chapter 8 Beauty

Chapter 9 Design

Chapter 10 Hair

Chapter 11 Airbrush

Chapter 12 Effects

Chapter 13 How to Be a Pro

Cosmetics, Tools, Labs, and Effects

The Crew

Glossary

Professional Library

The Pros

Unions

Index

In the last decade a greater demand has been placed on cameramen to record sound as well as pictures on location. For anyone wanting to learn about the basics of recording sound, specific to single camera location work this book provides an ideal grounding. It covers the equipment a single operator would use, methods and examples of how to learn sound techniques and ways of successfully working alone. While it offers an account of audio theory, including post-production it also explains the essential audio technology basics. Covering typical techniques including live broadcasting, it teaches practical everyday instruction on what microphones to rig, how to sound balance everyday news, magazine and current affairs etc.
Techniques are explained and laid out in an accessible format supported by diagrams and are organised in easy to browse topics for quick reference. The author's approach is clear yet comprehensive, offering real hands-on experience of the skills involved in broadcast audio. This manual is seen as a basic, practical introduction to tackling the problems of recording sound on location as a cameraman, thus providing the necessary experience and knowledge required of everyday operation.
*Practical advice allows you to apply techniques to the real world
*Contains essential audio technology theory for a thorough grounding in the principles
*An accessible guide for everyday use

The Technical Brief is a collection of single-focus articles on technical production solutions, published three times a year by the prestigious Yale School of Drama. The primary objective of the publication is to share creative solutions to technical problems so that fellow theatre technicians can avoid having to reinvent the wheel with each new challenge. The range of topics includes scenery, props, painting, electrics, sound, and costumes. The articles each describe an approach, device, or technique that has been tested on stage or in a shop by students and professionals.
Some articles included: Growing Flowers on Stage; Break-Away Glass; Photo-Murals for the Stage; Quiet Wire-Rope Curtain Track; Free Standing Curved Stairs; A Measured Approach to Kerfing; A Low-Voltage Remote Controller for Special Effects; Toggle-Clamp Locks; Comparing Four Plastics as Scenery Glides; Low Pressure Air Casters; A Simple Lift Jack; Using a Piano to Create a Reverberation Effect; Horn-Hat Mics for Sound Reinforcement
* Ten years of The Technical Brief articles bound in one complete volume
* Great reference of tips and solutions to unique technical challenges in theatre production
* Solutions provided by contributors from over twenty different drama programs

Uva's Guide To Cranes, Dollies, and Remote Heads is a comprehensive guide to all the latest equipment-what it is, how to use it and where to find it. This new book is designed to provide the more experienced professional with a streamlined reference to the equipment without the how-to information beginners require. Like the Grip Book 2E, it lists standards and features of all the different types of equipment covered, and with the recent explosion of new equipment introduced into the film industry this reference is invaluable!
As a reference guide, Uva's Guide To Cranes, Dollies and remote heads provides must-have information for a larger group of film professionals. Producers, directors, and DPs, and others responsible for securing equipment for a project will consider this an indispensable tool that will become an industry standard.
Comprehensive guide to all the latest equipmentOffers a streamlined reference to the equipment without the how-to information beginners requireAccessible to Directors, Producers, Production managers, and DPs, as well as to Grips and other film technicians

An easy to follow, quick reference introductory guide for beginning professionals and students in filmmaking and postproduction. It explains all film laboratory procedures in the context of the wide range of technology that is used by filmmakers, explaining what happens and why at every stage. A technical understanding of film processing and printing, telecine and laboratory and digital processes will help you get the best results for your film. The book is particularly useful for those who have come to film making from other media - video or digital.

The book is based on the author's own experience as a lab technician and technical film consultant and provides answers to many frequently asked questions. The different pathways for film production and postproduction are demonstrated as well as the function of the lab at each stage of the process. The complete range of services is offered, with particular emphasis on the often confusing requirements for super 16 and the blow up to 35mm, the intricacies of negative cutting to match a non-linear edit and the process of grading and regrading for the answer print.
This new edition includes:
* An update on all digital formats of image and sound
* Revision sections on Super 16, Super 35
* Additional information on syncing rushes at telecine and to digital images
* The latest telecine machines
* A new, clear and simple glossary
-Gain a complete understanding of film laboratory procedures
-Describes how to use a laboratory's services to gain the best results for film
-Broaden your knowledge through answers to the most frequently asked questions concerning film technology

This is the first bibliography in its field, based on first-hand collations of the actual articles. International in scope, it includes publications found in public theatre libraries and archives of Barcelona, Berlin, Brussels, Budapest, Florence, London, Milan, New York and Paris amongst others.
Over 3500 detailed entries on separately published sources such as books, sales and exhibition catalogues and pamphlets provide an indispensible guide for theatre students, practitioners and historians. Indices cover designers, productions, actors and performers. The iconography provides an indexed record of over 6000 printed plates of performers in role, illustrating performance costume from the 18th to 20th century.

What is the role of a Director? Tyrannical dictator or creative persuader? Why does the audience matter when interpreting a play? How do you get the best out of actors and what do they expect from you? Directing for the Stage addresses the key questions surrounding this venerable and yet often invisible craft, offering practical guidance on the crucial moments of creating a stage production, including budgeting, auditions, rehearsals, opening night and beyond. From knotty discussions on Shakespeare, to when to call a coffee break, all aspects of the Director's art are examined, including the history and development of the stage Director; how to commission and original play or obtain rights for an existing work; how to timetable the production process - from concept to last night and an hour-by-hour guide to rehearsals and all major approaches.

Readers of Mike Uva's GRIP BOOK who are interested in more detailed information on the work of the grip department will welcome his new rigging manual, clearly detailing all the ways to mount cameras and lights both on a set as well as on location.
The book covers the latest truss systems, rigging equipment and portable stages, as well as lifts, boom arms and camera mounts for every type of moving vehicle. The book is not limited to equipment specifications, however; Uva offers tips and tricks throughout in order to make the process of setting up and shooting safer and more efficient. Grips often need to invent makeshift solutions in a short time, and Uva shares many such devices developed over his years in the film and TV industry. This book will help grips and key grips move on to the bigger feature projects and commercials that require this equipment. It will also be useful for directors of photography and producers in pre-planning the required equipment for specific shots.
Offers detailed information on the use and operation of the latest rigging equipment
Includes some hard-to-find information on camera mounts for difficult situations such as aircraft, boats, cars, trains, and even people
Time-tested tips and tricks for smooth and safe set-up and operation

The Changing Room traces the origins and variations of theatrical cross-dressing through the ages and across cultures. It examines:
* tribal rituals and shamanic practices in the Balkans and Chinese-Tibet
* the gender-bending elements of Greek and early Christian religion
* the homosexual appeal of the boy actor on the traditional stage of China, Japan and England
* the origins of the dame comedian, the principal boy, the glamour drag artiste and the male impersonator
* artists such as David Bowie, Boy George, Charles Ludlam, Dame Edna Everage, Lily Savage, Candy Darling, Julian Clary and the New York Dolls.
Lavishly illustrated with unusual and rare pictures, this is the first ever cross-cultural study of theatrical transvestism. Written with elegance, authority and wit by one of the world's leading theatre historians, it is a must for anyone interested in questions of cross-dressing, theatre, and gender.

eBook available with sample pages: 0203411072