Why are so many women still not properly listened to? Why do they sometimes feel that they're less interesting than they are? Why do they often rush when they speak? Why do some women feel the pressure to sound like little girls? From one of the world's leading experts on the voice comes this call to arms for women to reclaim their voices. Using elements of experience and practice from her prolific career, Patsy Rodenburg examines these questions, and many more, to decipher what lies at the heart of female empowerment. From the age of four, Rodenburg knew that she found communication difficult. Her struggle with her own voice set her on the journey that led her to discover her vocation. She has spent her life re-finding and re-empowering voices, particularly the lost voices of women. Watching her highly intelligent working-class mother and grandmother ignored and often silenced gave her the insight to investigate why that was and how to help women overcome this centuries-old issue. With warmth and humour, Rodenburg interrogates Shakespeare's texts and his presentation of female characters; develops the notion of rhetoric in relation to the female voice; and applies concepts explored in her previous books, including The Three Circles of Energy. And, perhaps most crucially, through arguing that power and voice are directly linked to breath, Rodenburg makes the case that Western society's oppression of women has diminished their natural ability to breathe. Exploring the female voice through practical exercises and stories from the front line, as well as profoundly personal and formative experiences from her own life, Rodenburg defines the art of accessing the voice within and reclaiming the woman's right to speak.

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

Nonlinear is a buzzword for every broadcaster and facility house worldwide. Systems range from the humble to the exotic, and despite the growing acceptance of the technology, many users, both new and experienced, find the complexity of the operation and the time spent loading the material and rendering effects difficult to manage at first. Non-linear editing also comes with its own specialist language, requiring each editor to be conversant with a new range of skills from day one. As desktop systems improve the role of the traditional editor is constantly evolving and expanding.

This is an operational manual for professional trainees and students in the post-production industry. It will also serve as a useful reference tool for producers and directors. Written in a concise and clear manner, the book serves as a practical guide to the efficient management and operation of non-linear editing systems. It describes the technology involved, the essential techniques to be mastered including on-line and off-line editing, project management, rendering effects, working with graphics and audio, and adding third party applications. Designed for quick and easy reference, this is a practical user guide to non-linear editing that comes complete with an extensive jargon buster that will get you fully conversant with the technology in a short space of time.
Patrick Morris is a Trainer in Post-Production for the Television Corporation of Singapore and the Singapore Broadcasting Authority as well as Chairman of the South East Asia User Group. He is an AVID Certified Trainer with a working knowledge of Lightworks, Media 100, Quantel, D Vision and other systems. Formerly a consultant and SeniorEditor for BBC, ITV and SKY TV, he also spent many years a Training Manager for BBC Wood Norton and as Senior Video-Tape Editor for Television South West.
A quick reference guide containing all essential information
Provides useful on-the-job' information
Basic concepts are explained in a clear manner for ease of understanding

Sergei Radlov started as one of the left-wing directors among the disciples and companions-in-arms of Vsevolod Meyerhold in post-revolutionary years. With Radlov, both the Academic Drama Theatre and the Opera and Ballet House were reinvigorated. In the former he directed Jack London, Ernst Toller, Evgeni Zamyatin, and updated Aristophanes. In the latter he did "modern" operas, such as "The Love for Three Oranges" by Sergei Prokofiev, "Der ferne Klang" by Franz Schrecker, "Woyzeck" by Alban Berg, "Der Rosenkavalier" by Richard Strauss, and Mussorgsky's "Boris Godunov" in its authorized version.
Most of all, Radlov cherished the studio theatre he had created himself which he considered his life's work and was madly protective of it. To save it, he refused to leave Piatigorsk with his first group of actors and found himself a German prisoner with the rest of the company. This event cast a shadow over the last years of his life.
In this meticulously researched book, David

Edward Gordon Craig's ideas regarding set and lighting have had an enormous impact on the development of the theatre we know today.
In this new and updated edition of his well-known study of Edward Gordon Craig, Professor Christopher Innes shows how Craig's stage work and theoretical writings were crucial to the development of modern theatre. This book contains extensive documentation and re-evaluates his significance as an artist, actor, director and writer. Craig is placed in historical context, and his productions are reconstituted from unpublished prompt-books, sketches, journals and correspondence. Most of the designs and photographs, and many of Craig's writings cited, are not available elsewhere in print. Readers will gain insight into a key period of theatrical history, the life of one of its most fascinating individuals, the nature of stage performance, and into revolutionary ideas that are still challenging today.

This practical and informative book outlines everything you need to know about set, costume and lighting design from initial concept, script analysis, research ideas and putting it all together. The book is structured in several layers with the main chapters covering the key steps in the design process, followed by a case study-the Queensland Theatre Company's production of Pygmalion which Curtis designed the sets and costumes for-giving practical working samples relating to each step in the process. The further thinking sections investigate more complex aspects of how designers work, and can be read in sequence or as specialised thought-provoking topics.

Women Writing and Directing in the USA: A Stage of Our Own features interviews with some of the most successful theatre artists currently working on and off Broadway and beyond. The book provides an insight on what it means and what it takes to be a successful female-identifying playwright and director in the USA, where the professional theatrical landscape is still mostly dominated by straight white men. The interviews explore a wide range of themes, including if and how the artists' female perspective influenced their art, the social and cultural significance of their work, and how theatre and women working in theatre can participate in awakening greater social awareness. Readers will learn about some of the most current and relevant American theatre artists, such as Young Jean Lee, Pam MacKinnon, Dominique Morisseau, Rachel Chavkin, and Martyna Majok. Written for students in directing and playwriting courses, Women Writing and Directing in the USA: A Stage of Our Own features inspirational and informative stories that will help young theatre artists find and pursue their artistic voices.

The Art of Light on Stage is the first history of theatre lighting design to bring the story right up to date. In this extraordinary volume, award-winning designer Yaron Abulafia explores the poetics of light, charting the evolution of lighting design against the background of contemporary performance. The book looks at the material and the conceptual; the technological and the transcendental. Never before has theatre design been so vividly and excitingly illuminated. The book examines the evolution of lighting design in contemporary theatre through an exploration of two fundamental issues: 1. What gave rise to the new directions in lighting design in contemporary theatre? 2. How can these new directions be viewed within the context of lighting design history? The study then focuses on the phenomenological and semiotic aspects of the medium for light - the role of light as a performer, as the medium of visual perception and as a stimulus for imaginative representations - in selected contemporary theatre productions by Robert Wilson, Romeo Castellucci, Heiner Goebbels, Jossi Wieler and David Zinder. This ground-breaking book will be required reading for anyone concerned with the future of performance.

Focused on the contemporary Anglophone adoption from the 1960s onwards, Beyond Scenography explores the porous state of contemporary theatre-making to argue a critical distinction between scenography (as a crafting of place orientation) and scenographics (that which orientate acts of worlding, of staging). With sections on installation art and gardening as well as marketing and placemaking, this book is an argument for what scenography does: how assemblages of scenographic traits orientate, situate, and shape staged events. Established stage orthodoxies are revisited - including the symbiosis of stage and scene and the aesthetic ideology of 'the scenic' - to propose how scenographics are formative to all staged events. Consequently, one of the conclusions of this book is that there is no theatre practice without scenography, no stages without scenographics. Beyond Scenography offers a manifesto for a renewed theory of scenographic practice for the student and professional theatrical designer.

The main purpose of this volume is to look into a wide spectrum of artistic ventures which cross boundaries and challenge habitual thinking, consequently involving an element of provocation. While it is true that not all great art is provocative, the most memorable artefacts are these which have confounded our aesthetic expectations or stirred our moral imagination. However, as the turn of the millennium witnessed ever more shocking artistic gestures of provocation, the question arises if there are any limits to artistic freedom. The essays collected in this book offer a truly interdisciplinary perspective and deal with creative acts of transgression from a broad range of fields: literature, theatre, visual art, film, anthropology, and others. This volume will appeal to readers interested in artistic and academic pursuits that are subversive and irreverent.

"Staging Place: The Geography of Modern Drama" reimagines the content and continuities of theater history and exposes underlying dialogues between "home and homelessness, belonging and exile"--a century-long struggle with the meaning and power of place, which the author terms "geopathology." By reading canonical works in conjunction with contemporary ones, Chaudhuri charts the evolution of a dramatic paradigm with profound theatrical and thematic implications.
Chaudhuri starts with a discussion of a "poetics of exile" in early modern drama, where the figure of home is constructed as a locus of two conflicting impulses: the desire to find a stable site for individual identity and the desire to deterritorialize the self. By mid-century, she argues, a new discourse of "failed homecoming" begins to displace this geopathic model and replace the poetics of exile with a grim anti-poetics of immigration. She then employs postmodern and postcolonial theories of place and culture to define the emerging multiculturalism as a creative reworking of the figures of home, homecoming, homelessness, immigration and exile.
"This is a book of real originality. Its treatment of space in modern drama is elegant and powerful. . . ." --William B. Worthen, Northwestern University
"Staging Place is a powerfully written book, deft in its handling of familiar and unfamiliar plays alike and eclectic in its use of theatrical sources." --"Essays in Theatre/ etudes theatrales"
"This sophisticated and well-written study for graduate students and their teachers explores modern drama's preoccupation with the seemingly irreconcilable discontinuities between the notions of home and homelessness, belonging andexile. . . . The readings of individual plays are fresh and invigorating. . . ." --"Choice"
Una Chaudhuri is Associate Professor of English, New York University.

Clown: The Physical Comedian is a detailed and comprehensive workbook for those interested in the art of clowning and physical theatre, including actors, directors, improvisers, stand-up comedians, circus artists, mask performers and devisers of new work. Offering an extensive and hugely diverse compilation of tried-and-tested exercises and games, the book is for students, teachers and practitioners to aid ensemble-building, character development, devising theatre, physicalising text and vocalising movement, plus creating cabaret acts, clown routines and adding physical play to scripted scenes. It offers advice on subjects such as developing presence onstage; increasing strength, flexibility and physical expression; developing partner and trio relationships; understanding the power of the mask; and working with an audience - in particular, turning a performance into a conversation with the audience and increasing the actor's ability to connect with a crowd. The exercises and teachings have been developed in classrooms, workshops and theatres all over the world and the book is packed with insights from the author, who has worked for over 35 years in a wide variety of venues, from intimate performance spaces to large-scale sports stadiums.

This comprehensive guide to achieving success in the exciting and imaginative world of audio performance - including radio, voice-overs, commercials, live theater, and more - provides all the information that radio and audio novices need to get started and brush up on their skills. Topics covered in this title include: microphone acting techniques; tips for creating convincing vocal effects; writing tips for audio theater; ideas for creating and manipulating emotion through sound; beginning and intermediate level tips for directors; and, an extensive list of suggestions for creating frequently requested sound effects.

The art of wig making and wig dressing has been practised for centuries, and continues to be an exciting and essential part of costume production for theatre and film. With style inspiration ranging from the seventeenth to the twentieth century, A Practical Guide to Wig Making and Wig Dressing is a comprehensive introduction to the knowledge and techniques required to produce beautiful, durable and historical hairstyles able to withstand the demands of performance. Featuring over 700 photographs, this book offers detailed step-by-step instructions on how to make a wig, how to dress it according to time period, and how to fit and remove it, as well as advice on tools, products and suppliers. The work of current industry practitioners is showcased throughout the book, offering key insights into career pathways and professional styling gained from a wealth of experience. Additional material includes: a history of the use and development of wigs; examples of wig foundation making and wig knotting; an introductuion to facial hair making and dressing and finally, how to make hairpieces, sets and dressing for male and female hairstyles.

This book uses digital media theory to explore contemporary understandings of expanded scenography as spatial practice. It surveys and analyses a selection of ground-breaking, experimental digital media performances that comprise a genealogy spanning the last 30 years, in order to show how the arrival of digital technologies have profoundly transformed performance practice. Performances are selected based on their ability to elicit the unique specificities of digital media in new and original ways, thereby exposing both the richness and shortcomings of digital culture. O'Dwyer argues that contemporary scenography is largely propelled by and dependent on digital technologies and represents a rich, fertile domain, where unbridled creativity can explore new techniques and challenge the limits of knowledge. The 30-year genealogy includes works by Troika Ranch, Stelarc, Klaus Obermaier, Chunky Moves, Onion Lab and Blast Theory. In addition to applying a broad scope of performance analysis and aesthetic theory, the work includes artists' interviews and opinions. The volume opens important aesthetic, philosophical and socio-political themes in order to highlight the impact of digital technologies on scenographic practice and the blossoming of experimental interdisciplinarity. Ultimately, the book is an exploration of how evolutionary leaps in technology contribute to how humans think, act, make work, engage one another, and therefore construct meaning and identity.

This book is a compendium of texts by international authors which reflect on Tadeusz Kantor's art in a broad range of contexts. The studies include works of prominent art historians, theatrologists and artists. The present revisiting of Kantor's artistic oeuvre reflects a contemporary historiographic approach. The authors place value on individual memory and consider contemporary art outside the traditional boundaries of particular artistic genres. The studies employ the latest strategies for researching theatrical performance as autonomous statements, without a literary anchor. Thanks to this approach, the eschatological and historical issues, crucial to the sphere of reference of Kantor's Theatre of Death, have acquired a new presence - as art that liberates thinking in the here-and-now.

Too often directors and stage designers approach the architectural layout of theatres as obstructive to the creative process. Condee's book teaches theater professionals to work creatively within even the most restrictive theatrical space and transform it into an asset rather than an obstacle. Condee has interviewed hundreds of prominent American and British directors, designers, and actors, and provides photographs and groundplans of major American theatres. Each chapter tackles a different set of problems, offering thoughtful solutions to common obstacles. Theatrical Space is not only a useful textbook for students of theatre, but also a valuable resource for all directors and designers, both young and experienced. Paperback edition available April 2002. Cloth version previously published in 1995.

Now in its Third Edition, Scenic Art for the Theatre: History, Tools and Techniques continues to be the most trusted source for both student and professional scenic artists. With new information on scenic design using Photoshop, Paint Shop Pro and other digital imaging softwares this test expands to offer the developing artist more step-by-step instuction and more practical techniques for work in the field. New to this Edition: * material about dealing with digitally printed drops, coverings, etc. * more step-by-step illustrations and descriptions of common techniques and of examples showing a variety of techniques to produce a finished product * all updated information/techniques

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.

Scenic effects involving rotating turntables, tracking stage wagons, and the vertical movement of curtains and painted drops have become common in both Broadway and Regional theatre productions. The machines that drive these effects range from small pneumatic cylinders pushing loads of a few pounds an inch or two, to 40 horsepower winches running multi-ton scenery at speeds 6 feet per second or more. Usually this machinery is designed by theatre technicians specifically for a particular show's effect. Compared to general industry, this design process is short, often only a few days long, it is done by one person, design teams are rare, and it is done in the absence of reference material specifically addressing the issues involved. The main goal of this book is to remedy this last situation.
Mechanical Design for the Stage will be a reference for you that will:
* provide the basic engineering formulas needed to predict the forces, torques, speeds, and power required by a given move
* give a technician a design process to follow which will direct their work from general concepts to specific detail as a design evolves, and
* show many examples of traditional stage machinery designs.
The book's emphasis will be on following standard engineering design and construction practices, and developing machines that are functional, efficient to build, easily maintained, and safe to use.
* provides the basic engineering formulas needed to predict the forces torques, speeds, and power required by a given move
* describes the most common power transmission components used in stage
machines: roller chain, cable drums, bearings, gear reducers, etc.
* gives a technician adesign process to follow which will direct their work from general concepts to specific detail as a design evolves
* shows many examples of traditional stage machinery designs

By casting designers as authors, cultural critics, activists, entrepreneurs, and global cartographers, Essin tells a story about scenic images on the page, stage, and beyond that helped American audiences see the everyday landscapes and exotic destinations from a modern perspective.

This book explores the development of Robert Lepage's distinctive approach to stage direction in the early (1984-1994) and middle (1995-2008) stages of his career, arguing that globalisation had a defining effect on shaping his aesthetic and his professional trajectory. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage's productions. Productions discussed include The Dragon's Trilogy, Needles and Opium, and The Far Side of the Moon. Making theatre global: Robert Lepage's original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the early 21st century. -- .

Behind the scenes of New York City's Great White Way, virtuosos of stagecraft have built the scenery, costumes, lights, and other components of theatrical productions for more than a hundred years. But like a good magician who refuses to reveal secrets, they have left few clues about their work. "Blue-Collar Broadway" recovers the history of those people and the neighborhood in which their undersung labor occurred.Timothy R. White begins his history of the theater industry with the dispersed pre-Broadway era, when components such as costumes, lights, and scenery were built and stored nationwide. Subsequently, the majority of backstage operations and storage were consolidated in New York City during what is now known as the golden age of musical theater. Toward the latter half of the twentieth century, decentralization and deindustrialization brought the emergence of nationally distributed regional theaters and performing arts centers. The resulting collapse of New York's theater craft economy rocked the theater district, leaving abandoned buildings and criminal activity in the place of studios and workshops. But new technologies ushered in a new age of tourism and business for the area. The Broadway we know today is a global destination and a glittering showroom for vetted products.Featuring case studies of iconic productions such as "Oklahoma " (1943) and "Evita" (1979), and an exploration of the craftwork of radio, television, and film production around Times Square, "Blue-Collar Broadway" tells a rich story of the history of craft and industry in American theater nationwide. In addition, White examines the role of theater in urban deindustrialization and in the revival of downtowns throughout the Sunbelt.