Sound provides a lively and engaging overview of relevant critical theory for students and researchers in theatre and performance studies. Addressing sound across history and through progressive developments in relevant technologies, the volume opens up the study of theatrical production and live performance to understand conceptual and pragmatic concerns about the sonic. By way of developed case studies (including Aristophanes's The Frogs, Shakespeare's The Tempest, Cocteau's The Human Voice, and Rimini Protokoll's Situation Rooms), readers can explore new methodologies and approaches for their own work on sound as a performance component. In an engagement with the burgeoning interdisciplinary field of sound studies, this book samples exciting new thinking relevant to theatre and performance studies. Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Sound provides a balance of essential background information and new scholarship, and is grounded in detailed examples that illuminate and equip readers for their own sonic explorations. Volumes follow a consistent three-part structure: a historical overview of how the term has been understood within the discipline; more recent developments illustrated by substantive case studies; and emergent trends and interdisciplinary connections. Volumes are supported by further online resources including chapter overviews, illustrative material and guiding questions. Online resources to accompany this book are available at: https://bloomsbury.com/uk/theory-for-theatre-studies-sound-9781474246460/

Looking for a job in the theatre and entertainment industry can be daunting, especially when you are newly entering the work market. How do you take the skills and experience acquired through study and present them to prospective employers in the arts industry? Where does your search begin and what should you consider as you plan your future career steps? What is expected in a portfolio and what should you expect in an interview? This book provides straightforward strategies and practical exercises to turn anxiety into excitement and help you develop the job search skills and materials that will empower you to go after the job you want, and get it. If you are about to graduate or just ready to make a change, this book will teach you how to plan for your career as a designer, technician, or stage manager, and put your best professional persona forward when applying for jobs. Topics include resumes, cover letters, business cards and portfolios that will get you moved to the top of the pile; what to expect at an interview and how to answer any interview question; the how and why of negotiating for your worth; long term career planning, financial implications and much more. Filled with practical advice, examples of letters, resumes, CVs and portfolios, and with guidance from industry professionals, it will equip you to plan and succeed in your job search and career development in the entertainment industry.

"Introduction to Documentary Production" is designed for students who are approaching documentary production for the first time. The book is written in an accessible style by media staff at the University of Portsmouth, UK, all of whom have backgrounds in media production or journalism. The book covers the making of documentaries from concept through production to post-production and includes close readings of documentary makers' intent and target audiences.

In September-October 2010 and February-March 2011, Diana Cozma had the privilege of watching the rehearsals of The Chronic Life, directed by Eugenio Barba, in Holstebro, Denmark, when she lived at Odin Teatret's guest house. Eugenio Barba's dramaturgy is discussed in the first part of the book, The Biography of a Dramaturgical Language, while the second part, The Dramaturgy of a Spectator, based on her rehearsal diary, reveals her reflections on Barba's evocative dramaturgy and her emotional and intellectual responses to the rehearsal process. "I feel the author's intensity in describing the actions and thoughts of the director and the actors who for years have accompanied her in her writing both in Romanian and English. I recognise the same tension, the same desire and effort that flow from a certain passionate reaction in the human being: gratitude towards the person who opened our eyes and awakened our energies. I recognise the origin of this writing, the nature of its particular style. It reminds me of my struggle with words or with the incandescence of the actors, in the attempt to cross over into that dimension of reality which forces us to go beyond what we are. It is a struggle that is constantly accompanied by the temptation to abandon and give up. Style is the luminous radiography of the darkness within us." (excerpt from the Foreword by Eugenio Barba).

An enthralling journey through time, fashion and theatreland: from hairdressing student in the early 1960s to theatrical wig creator for the biggest shows of our time over five decades - from the West End to Broadway - Box Brownie to Cinemascope. My Name Is Not Wigs is the ultimate read for fans of witty behind-the-curtains memoirs, especially those with a penchant for the bright lights of stage and screen: tears and accolades aplenty! Angela has created wigs for Spitting Image, Les Miserables, Phantom of the Opera, The Graduate, Witches of Eastwick, Jesus Christ Superstar, La Boheme and Mary Poppins to name a few; at institutions such as Madame Tussauds in London and Amsterdam, The Royal Opera House in Covent Garden and the Royal National Theatre on more than 100 shows; touring the world; and working alongside many of the biggest names in acting including Joan Collins, Judi Dench, Michael Gambon, Celia Imrie and Ian McKellen. 'A unique backstage story - honest and good-humoured, like the author.' - Sir Ian McKellen 'A glorious cavalcade of theatrical gossip and professional achievement in a department of our profession that largely goes unsung.' - Frances de la Tour 'A wonderful read and so well written with plenty of fascinating stories.' - Sir Michael Gambon

Digital Media, Projection Design, and Technology for Theatre covers the foundational skills, best practices, and real-world considerations of integrating digital media and projections into theatre. The authors, professional designers and university professors of digital media in live performance, provide readers with a narrative overview of the professional field, including current industry standards and expectations for digital media/projection design, its related technologies and techniques. The book offers a practical taxonomy of what digital media is and how we create meaning through its use on the theatrical stage. The book outlines the digital media/projection designer's workflow into nine unique phases. From the very first steps of landing the job, to reading and analyzing the script and creating content, all the way through to opening night and archiving a design. Detailed analysis, tips, case studies, and best practices for crafting a practical schedule and budget, to rehearsing with digital media, working with actors and directors, to creating a unified design for the stage with lighting, set, sound, costumes, and props is discussed. The fundamentals of content creation, detailing the basic building blocks of creating and executing digital content within a design is offered in context of the most commonly used content creation methods, including: photography and still images, video, animation, real-time effects, generative art, data, and interactive digital media. Standard professional industry equipment, including media servers, projectors, projection surfaces, emissive displays, cameras, sensors, etc. is detailed. The book also offers a breakdown of all key related technical tasks, such as converging, warping, and blending projectors, to calculating surface brightness/luminance, screen size and throw distance, to using masks, warping content and projection mapping, making this a complete guide to digital media and projection design today. An eResource page offers sample assets and interviews that link to current and relevant work of leading projection designers.

The Most Widely Used Manual For Aspiring And Veteran Stage Managers - Now Revised and Expanded

The next best thing to shadowing a Broadway stage manager, this detailed, behind-the-scenes book as been brought completely up to date. First published in 1991, it is widely used and has been lauded as the most comprehensive, educational book on stage management available. From preproduction planning and first rehersals to opening night and final strike, all the essentials of the profession are presented here in a friendly, engaging style.
Blending how-to information with anecdotes from his own career, author Thomas A. Kelly explains the entire theatrical process, including:
- Organizing all rehearsals and performances
- Maintaining the working script, cue sheets, and daily records
- Supervising the technical aspects of the show
- Running shows outdoors and at other non-theatrical venues
- Dealing with performers and crew members on all levels
This new edition reflects all the latest developments and innovations in the industry and adds a totally new chapter on opera stage management, complete with an in-depth breakdown of the challenges this style of production presents. The text is supported by sample documents, diagrams, and charts that straddle time-honored approaches with what can be generated by today's computer software. All the latest stage machinery is discussed, along with tips on finding employment. This guide remians the first choice for anyone who works in any branch of the profession, whether amateur, educational, or professional.

Thrust into the international spotlight in 1966 when "The Hunt," his critique of the Franco regime, won the Silver Bear at Berlin, Spanish filmmaker Carlos Saura (b. 1932) has remained an abiding presence and frequent victor at worldwide cinema competitions ever since.

Best known in the United States for his Flamenco trilogy--"Blood Wedding," "Carmen," and "A Love Bewitched"--he also received Oscar nominations for "Mama Turns a Hundred," "Carmen," and "Tango." Saura's movies are frequently ambiguous, sometimes controversial, and always narratively complex. In many of his films, such as "Cria" and "Goya in Bordeaux," he creates sophisticated expressions of time and space by fusing reality with fantasy, past with present, and memory with hallucination.

"Carlos Saura: Interviews" collects interviews the filmmaker has given in Spain, France, Germany, and Canada. All of the conversations appear here in English for the first time, and, as such, they represent a treasure trove of comments by Saura on his own work.

Covering the entire spectrum of his career, including his latest film "Bunuel and King Solomon's Table," the interviews discuss his early contributions to the New Spanish Cinema, his documentaries and documentary-like urban films, his cinematic essays on historical figures, his dance films, his adaptations of literary and theatrical works, and the films rooted in his personal reminiscences of the Spanish Civil War.

In addition, the collection touches upon Saura's efforts as a photographer, opera director, and novelist and explores his friendship with filmmaker Luis Bunuel. These interviews disclose Saura's amazingly consistent approach to his cinema, his role as an auteur, and the principles on which his creativity and intuition continue to build in innovative ways.

Linda M. Willem is professor of Spanish at Butler University. She is the author of "Galdos's Segunda Manera: Rhetorical Strategies and Affective Response" and editor of "A Sesquicentennial Tribute to Galdos." Her work has been published in "Literature/Film Quarterly," "Bulletin of Hispanic Studies," "Latin American Literary Review," "Letras Peninsulares," and "Critica Hispanica."

From the authors of the successful Grand-Guignol and London's Grand Guignol - also published by UEP - this book includes translations of a further eleven plays, adding significantly to the repertoire of Grand-Guignol plays available in the English language. The emphasis in the translation and adaptation of these plays is once again to foreground the performability of the scripts within a modern context - making Performing Grand-Guignol an ideal acting guide. Hand and Wilson have acquired extremely rare acting copies of plays which have never been published and scripts that were published in the early years of the twentieth century but have not been published since - even in French. Includes plays written by, or adapted from, such notable writers as Octave Mirbeau, Gaston Leroux and St John Ervine as well as examples by Grand-Guignol stalwarts Rene Berton and Andre de Lorde. Also included is the 1920s London translation of Blind Man's Buff written by Charles Hellem and Pol d'Estoc and banned by the Lord Chamberlain. A brief history of the Parisian theatre is also included, for the benefit of readers who have not read the previous books.

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

2013 Reprint of 1927 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. Evreinov argued that the role of theatre was to ape and mimic nature. In his estimation, theatre is everything around us. He pointed out that nature is full of theatrical conventions: desert flowers mimicking the stones; mouse feigning death in order to escape a cat's claws; complicated dances of birds, etc. He viewed theatre as a universal symbol of existence. Evreinov promoted an underlying aesthetic: "To make a theatre of life is the duty of every artist. ... the stage must not borrow so much from life as life borrows from the stage." The director sought to reinvigorate the theatre (and through it life itself) through the rediscovery of the origin of theatre in play. He was influenced by the philosophies of Schopenhauer, Nietzsche and Bergson, and, like Meyerhold, the aesthetics of symbolism and the commedia dell'arte (particularly in its use of mask and spontaneity). Evreinov developed his theatrical theories in An Introduction to Monodrama (1909), The Theatre as Such (1912), The Theatre for Oneself, and Pro Scena Sua (1915).

2013 Reprint of 1933 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. This is a book for actors by an actor, giving vivid instruction in the technique of the art. Boleslavsky's knowledge of the theatre is based on a wide experience. In the 1920s, he made his way to New York City, where, now known as "Richard Boleslavsky" (the English spelling of his name), he began to teach Stanislavski's 'system' (which, in the US, developed into "Method Acting") with fellow emigre Maria Ouspenskaya. In 1923, he founded the American Laboratory Theatre in New York. Among his students were Lee Strasberg, Stella Adler and Harold Clurman, who were all founding members of the Group Theatre (1931-1940), the first American acting ensemble to utilize Stanislavski's techniques.

2012 Reprint of 1935 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. As engaging today as when it originally appeared, this book has two parts. The first describes the colorful life of two artist-puppeteers and their travels through the famine and revolution torn land, into remote oriental provinces. The second is the practical part. It tells just how the author conceives her plays, and make and works her puppets, whether they be hand-puppets, shadow figures or the special hand and rod combination type she evolved. No other book has gone so deeply into the heart of the artist using puppets. The Efimovs invented an original design of puppets on rods, which enabled them, by way of experiment, to stage scenes from "Macbeth."

This book articulates the first theoretical context for a 'cyborg theatre', metaphorically integrating on-stage bodies with the technologized, digitized, or mediatized, to re-imagine subjectivity for a post-human age. It covers a variety of examples, to propose new theoretical tools for understanding performance in our changing world.

"This step-by-step, user friendly guide covers every aspect of stage management and can take any would-be stage manager at any level of theatre and turn them into an expert who will be the ultimate asset to your production."
-Tom Paster, Director of Musical Theatre, Northern Highlands Regional High School, NJ
"It's entertaining, informative and practical - a great resource for the "how-to" questions, and a terrific overview for anyone involved in the process of making theater."
-Les Gutman, Producing Director, Friendly Fire Theatre, NYC
Are you about to stage manage your first show and have no idea where to start? This book offers simplified guidelines for a complicated job and gives a step-by-step process for organizing auditions, rehearsals, the technical aspects, and performances. The author understands the pressures of the beginning stage manager and proceeds to calm those fears in a no-nonsense handbook. This "survival guide" gives detailed descriptions or examples of all the forms and lists the stage manager must use in production. An essential read for the novice stage manager in high school, college or community theatre.
About the Author
Mary Ellen Allison is a working stage manager with over thirty years of professional experience from Broadway to community theatre. Her credits include shows with award-winning theatre artists, such as: Horton Foote, Jean Stapleton, Allison Janney, Jim Dale, Andrew Lippa, and Frank Langella. She teaches stage management at Ramapo College of New Jersey and was named to Who's Who Among America's Teachers, 2003-2004.

Taking the reader through the production of a play step by step, from setting up a drama group to opening night and through an entire run, this book can be read straight through or consulted as a handy reference. All aspects of starting a drama group are explored, including financing, organizing, attracting members, choosing a director, choosing plays, auditions, casting, stage management, lighting, sound, costumes, props, set design, advertising, first nights, and last nights. Additional sections deal with special concerns and interests such as producing plays in the open air, school productions, producing plays with non-English speakers, expatriate productions, plays without scripts, and producing Shakespeare and Brecht. Other helpful features include sample rehearsal schedules, sample plans for blocking scenes, and excerpts and quotes from leading drama practitioners.

"Pattern Cutting for Men's Costume" is a practical
guide featuring patterns for the most important garments worn by men
between the 16th and 19th centuries. Easy-to-follow instructions
explain how to cut patterns for 'average' and individual measurements -
with expert advice on how to adapt patterns to fit men of all shapes
and sizes.
Introductions to each section describe the major developments in
men's dress - revealing how garments evolved - and patterns for period
garments for which there are no actual examples are based on
contemporary paintings. Illustrated throughout with hundreds of
diagrams, this is a much-awaited and valuable addition to the library
of costume-makers in all fields.

Features a new system of drafting patterns for men's period costume.
Includes patterns for the most important non-fashionable garments
(worn from the 16th to the 19th centuries) plus clothes in vogue from
the middle of the 16th to the end of the 18th centuries.
Illustrated with hundreds of diagrams accompanied by step-by-step
instructions for period garments, plus a few versatile theatrical
designs.

All actors and acting teachers need "The Ultimate Scene and Monologue Sourcebook, " the invaluable guide to finding just the right piece for every audition. The unique format of the book is ideal for acting teachers who want their students to understand each monologue in context. This remarkable book describes the characters, action, and mood for more than 1,000 scenes in over 300 plays. 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 includes the author's own assessment of each monologue.