Theatrical Makeup clearly and concisely explains the basics of theatrical makeup techniques to allow stage actors to put their best face forward! Readers will gain understanding of the physiology of the human face and, using cream based makeup, as well as commercial cosmetics, learn how to contour it to suit the character with the use of highlight and shadow. Hundreds of full color images and step-by-step instructions illustrate how to visually manipulate bone structure and apparent age, apply simple facial hair and wounds, and create glamorous and natural stage makeup. Also covered are the tools readers will need to apply their own makeup, along with critical health and hygiene tips. This book is suitable for beginner Theatrical Makeup courses and for stage actors of all levels.

In this enlarged and thoroughly revised third edition of his widely used text, Darwin Reid Payne explores the principles and philosophies that shape the visual elements of theatre.

Payne sets out to discover who scenographers are and to define their responsibilities. He sees scenographers as not merely craftspersons but artists with "a special vision that spans all the arts." Such artists are in a position to "extend and amplify underlying meanings of the production." The proper goal of beginning scenographers, according to Payne, is one day to be able to approach the job as artists in full command of their craft.

Payne seeks to instill in beginning scenographers a basic core of knowledge: an understanding of theatre history and the development of drama; a knowledge of art history and an understanding of periods and styles of architecture, painting, sculpture, furnishings, and costume; and a familiarity with the principles, techniques, and materials of pictorial and three-dimensional design. This new edition contains 248 illustrations, 38 more than the second edition. Payne's goal, certainly, is to teach students what to do and how to do it; equally important, however, is Payne's view that scenographers must know why.

To Payne, "Scenography is an art whose scope is nothing less than the whole world outside the theatre." Scenographers must read not only in their own field but in others as well. Payne has incorporated into his text many suggestions for outside readings, quoting passages and even entire chapters from important works. Stressing research, Payne argues that without knowledge of the literature of their own and related arts, scenographers cannot grow. Andthat is the emphasis of this book: to present aspiring scenographers with an approach and a set of concepts that will enable them to grow. Toward that end, Payne establishes five priorities, the first of which is to develop in students what he calls "time vision," or the ability to "see" the historical past as a living place with living inhabitants. The second priority is to bring about an awareness that allows students to "see" beneath the surface of objects and events. Third, students must be helped to recognize and appreciate the difference between the "concept of space as it exists outside the theatre and the concept of space as it is used within the theatre." The fourth priority is to ingrain in students an understanding of the importance of imagery to the scenographer, and the final priority is to teach those technical skills necessary to carry out the concepts of the scenographer.

The history of jewellery manufacturer Corbella Milano, one of the most renowned excellences of Made in Italy. The Corbella company, 'the first Italian manufacturer of jewellery and weapons for the theatre', was founded in the heart of Milan in 1865. Through reproductions of weapons, jewels and accessories, it soon became one of the first official suppliers of the Teatro alla Scala, as well as signing contracts with prestigious institutions including La Fenice di Venezia, the Costanzi in Rome and the Colon of Buenos Aires. The industrious Milan after the Unification of Italy, of the National and International Expositions, of the years between the two world wars and of the economic boom has seen the owners of Corbella always acting as protagonists, first in the theatrical sector, with specific supplies to the great lyrical interpreters, from Margherita Carosio to Renata Tebaldi, then in the field of the great Italian producers of costume jewellery, up to the production changes due to the globalisation of the 21st century. Text in English and Italian.

Sewing Techniques for Theatre: An Essential Guide for Beginners distills the intimidating art of sewing down into simple, quick, and effective lessons to prepare readers for an entry-level position in a costume shop. The lessons follow an hour-by-hour structure, offering detailed instructions to creating 11 sewing samples, a scrub shirt, and a tote bag. Embedded in the projects' directions are lecture materials on safety, irons, fabric, and patterns. With a wealth of hands-on exercises, review questions, photographs, and step-by-step instructions for compiling a portfolio, this guide teaches aspiring costume technicians about the culture and machinery of the costume shop, and equips them with the necessary skills to begin their career as members of a costume shop team.

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."

Problems plague every screenwriter, and even most pros' first drafts inevitably need a bunch of rewrites. Good writers don't despair; they see their problems as creative springboards to make every subsequent draft better.

But how do you know what truly isn't working in your screenplay? And even when you've figured that out, how do you know exactly what changes to make to improve it? In this comprehensive, step-by-step guide, best-selling author Syd Field helps you identify and remedy common screenwriting problems. Field provides professional secrets that make movies brilliant - secrets that can elevate the quality of your screenplay, and aim it for success.

Using The Screenwriter's Problem Solver, you'll learn to:

• Understand how great stories work regarding: structure, feeling, entertainment value and more,
• Hook professional readers by writing the most powerful version of your script's first ten pages,
• Use a "dream assignment" to liberate elusive parts of your creative self, overnight,
• Leverage action to build character, the way Quentin Tarantino does,
• Recover when you "hit the wall" - and overcome writer's block forever.

Syd Field's ground-breaking work discerning the deep structure of successful screenplays is based on decades of study - encompassing thousands of scripts and films. This is the stuff that doesn't change - even as wildly popular trends, like superhero movies, come and go - because the fundamental elements that make stories resonate with audiences are rooted in our shared humanity. Field's insights about screenwriting are not only practical, they're also expressions of compassion and wisdom. You may find that some of the solutions you uncover using Field's approach to writing can apply to other challenging aspects of your life as well.

Brian De Palma (b. 1940) isn't your average Hollywood director.

For years he reigned as the "master of the macabre," the man who massacred the class of '76 in "Carrie" and stalked Angie Dickinson in "Dressed to Kill." By the mid-1980s De Palma found himself assaulting his audience and critics, daring them to watch a chainsaw enter a man's skull in "Scarface" and a power drill disembowel a defenseless woman in "Body Double."

What drove De Palma to such extremes? In the late 1960s, he wanted to be the next Jean-Luc Godard and revolutionize American cinema. Instead, he found himself ostracized when Warner Bros. removed him from "Get to Know Your Rabbit," his first Hollywood feature. De Palma sought the refuge of Alfred Hitchcock until the late 1970s ("Sisters," "Obsession"), when his surreal approach to horror became a genre unto itself ("Carrie," "The Fury," "Dressed to Kill"). Ironically, just as De Palma achieved the success that his fellow Movie Brats George Lucas, Martin Scorsese, and Steven Spielberg had enjoyed since the mid-1970s, he could not hide his resentment toward Hollywood. After battling with the MPAA in the 1980s, he gradually became part of the mainstream with the success of "The Untouchables" and "Mission: Impossible," although he never suppressed his desire to make audiences aware of his camera-eye and his dark, penetrating worldview.

"Brian De Palma: Interviews" follows De Palma's fortunes as he makes the difficult transition from underground filmmaker to celebrity auteur. In profiles and q&a interviews, he emerges as a fascinating figure of excess and ambivalence. De Palma is not afraid to share his opinions about censorship, violence, feminism, American culture, and the fate of cinema in the twenty-first century.

The subject of this book is theatre directing in four internationally famous instances. The four directors-Konstantin Stanislavsky, Bertolt Brecht, Elia Kazan, and Peter Brook-all were monarchs of the profession in their time. Without their work, theatre in the twentieth century-so often called "the century of the director" -would have a radically different shape and meaning. The four men are also among the dozen or so modern directors whose theatrical achievements have become culture phenomena. In histories, theories, hagiographies, and polemics, these directors are conferred classic stature, as are the four plays on which they worked. Chekhov's The Seagull, Brecht's Mother Courage and Her Children, and Williams's A Streetcar Named Desire have long been recognized, in the theatre and in the study, as masterpieces. They are anthologized, quoted, taught, parodied, read, and produced constantly and globally. The culturally conservative might question the presence of MaratiSade in such august company, but Peter Weiss's play stands every chance of figuring in Western repertories, classroom study, and theatrical histories until well into the twenty-first century. In their quite different ways, these are all classics of that Western drama which is part of our immediate heritage.

This book brings together a collection of leading international experts to explore the lessons learnt through implementation and the future directions of crime prevention policies. Through a comparative analysis of developments in crime prevention policies across a number of European countries, contributors address questions such as: How has 'the preventive turn' in crime control policies been implemented in various different countries and what have its implications been? What lessons have been learnt over the ensuing years and what are the major trends influencing the direction of development? What does the future hold for crime prevention and community safety? Contributors explore and assess the different models adopted and the shifting emphasis accorded to differing strategies over time. The book also seeks to compare and contrast different approaches as well as the nature and extent of policy transfer between jurisdictions and the internationalisation of key ideas, strategies and theories of crime prevention and community safety.

This is the answer to every actor's audition prayers. Acting coach Margie Haber has created a revolutionary phrase technique to get actors through readings with-out stumbling over the script. The book helps actors break through the psychological roadblocks to auditioning with a specific, 10-step method for breaking down the scene. Actors learn to prepare thoroughly, whether they have twenty minutes or two weeks. With a client list that includes: Halle Berry, Brad Pitt, Kelly Preston, Heather Locklear, Vince Vaughhn, Tea Leoni, Josie Bissett, Vondie Curtis-Hall, Laura Innes, and Tom Arnold, among others, Haber encourages and leads the reader through the audition process with helpful and oftentimes humorous examples. Includes script excerpts, celebrity photos, audition stories from today's hottest stars and tips from top industry professionals.

A groundbreaking philosophy of design for the stage. Standby proposes a practical philosophy of contemporary theatrical design that addresses all design disciplines, all theatrical collaborators, and all forms of theatre, from the traditional to the avant-garde. In a field that is too often dismissed as purely technical, Joshua Langman celebrates design as a transformative force with the power to elevate a performance and enable it to resonate beyond the bounds of its physical production. Beginning with the proposition that design contributes essential layers of meaning to an experience, Standby argues for a unique approach centered on the creation of revelatory theatrical moments. In a mission to illuminate the soul of the craft, Langman investigates the purposes of design, details the elements of a production concept, uncovers the mechanics of creating meaning, explores the relationship of theatrical design to fine art and art history, and offers practical guidance on designing productions. He also considers what has changed as designers have embraced digital technology and suggests fifteen concrete methods for preserving the magic of live theatre in a digital age. Blending scholarship and storytelling, personal experience and contrarian wisdom, Standby challenges theatre-makers to harness the rich dramatic potential of theatrical design.

Stage Lighting: Design Applications and More builds upon the information introduced in Stage Lighting: The Fundamentals to provide an in-depth reference to a number of specialty areas of lighting design, from traditional applications such as drama, dance, and designing for different venues, to more advanced applications such as concert, corporate, film and video, virtual, architectural/landscape, and other forms of entertainment lighting. Each chapter gives the essential background, design practices, and equipment details for each specialization, so readers can make informed decisions and ask informed questions when encountering each field. The book provides insight on the latest technology and includes profiles of prolific designers, such as James Moody, Jeff Ravitz, Alan Adelman, and Paul Gregory. Stage Lighting: Design Applications and More is intended to help lighting designers translate their theatrical skills to other areas of lighting design, and provides guidance on how to take those initial steps into new ventures in their lighting careers.

The large-scale Broadway musical is one of America's great contributions to world theatre. Bill and Jean Eckart were stage designers and producers at the peak of the musical, and their designs revolutionized Broadway productions. At a time when sets were meant to remain simply backdrops that established time and place but not much else, an Eckart set became part of the performance on stage, equal at times to an actor. Anyone who has seen Phantom of the Opera or Les Miserables has seen the innovations that the Eckarts brought to the large Broadway-style musical production. They were best known for their designs for Damn Yankees (1955); Once Upon a Mattress (1959), in which Carol Burnett made her Broadway debut; and Mame (1966) with Angela Lansbury. Andrew B. Harris uses production stills and the Eckarts' sketches from every show they worked on to illustrate the magic behind an Eckart design. This lavishly illustrated book, with more than 500 full-color illustrations, is a fitting tribute to both the great American theatre and the couple who helped make it great.

Focussing on costume in performance, this reader brings together key texts, case studies and interviews. Exploring costume's role and function in a variety of theoretical, historical, conceptual and practical contexts, this exciting volume also reflects on the broader relationship between costume and visual culture throughout.

The Theatrical Firearms Handbook is the essential guide to navigating the many decisions that are involved in the safe and effective use of firearm props for both the stage and screen. It is an invaluable resource for fight choreographers, props designers, backstage crew, directors, actors, stage managers, and more, at all levels of experience. Written in an informal and entertaining manner, with over 100 illustrations, it establishes baseline safety protocol while empowering performers and designers to tell their story of conflict in a way that makes the most of both established convention and current tools of the trade. Within these pages you'll find practical instruction couched in the language of theatre and film, making firearms technology and concepts approachable to dramatic artists without any dumbing-down of the subject material. This handbook is equally at home within the worlds of academic training, professional performance, and independent or community theatre and video productions

How has light influenced the staging of theatre throughout history? What does light contribute to performance? How does it make meaning? This collection explores the creative potential of light in the theatre. Through a wide range of extracts from historical accounts, new research and rare documents, some presented for the first time in English, Scott Palmer provides new ways of thinking about lighting as a creative performance practice. Focusing on elements such as: * the emergence of lighting design in the theatre * equipment and techniques * the dramaturgy of light * its impact on actor, audience and playhouse * the semiotics and phenomenology of light in performance the book reveals why light has such a profound effect on the audience's experience of a theatrical event.

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.

"Really does enable anyone from first year student to the established lighting designer to learn more and improve" Focus, the Journal of the Association of Lighting Designers New technologies have made lighting more prominent in live performances of all kinds, not just stage theatre, and in many courses lighting has been subsumed into 'performance lighting'. Performance Lighting Design is a practical guide to the art and technique of lighting for the stage, concerts, and live events. The book will also cover the use of projected images in performance including projected scenery on the West End stage, in fringe shows, and on the stadium "rock" stage, as well as the use of images from live camera and from other sources as "performers". The book will serve students of lighting design and will also be accessible to anyone with an awareness of technical theatre. Practical knowledge is combined with aesthetic and theoretical considerations. The book will also address the difficult area of getting inspiration and evolving design ideas through a broad range of performance genre. The author will discuss the pros and cons of several computer based techniques, and incorporate 25 years of his own professional experience in the UK and Europe.

Gaining a view behind the scenes into the jobs and personalities of people who work in the theatre is a privilege afforded to few. This book grants that privilege to all its readers. Twenty-one highly respected backstage professionals are interviewed, from artistic director to wig maker, working in all kinds of theatres in Britain and the United States. Their stories inform and entertain as they describe what they do and how they got to do it. Their anecdotes and observations intrigue and amuse as they reminisce about working with people such as Alan Bennett, Judi Dench, Placido Domingo, Ian McKellen and Andrew Lloyd Webber, to name just a few. Whether you enjoy watching theatrical performances and want to know more about them, or you would like to work in the theatre, Backstage Stories is the book for you.>

For more than thirty years, the Wing has produced the "Working in the Theatre" seminars, a series that features the greatest names in theatre. It is now available in book form for the first time, compact, and at an affordable paperback price.Spanning the range of these seminars, with a concentration on the most recent shows and current stars, the information, anecdotes, gossip (yes!), heartaches and triumphs are all here.We learn: what a career in the theatre is really about, from inspiration to a Tony or Pulitzer Prize; how actors prepare; what actors have found to be the best techniques; how writers get their work staged; and, how playwrights and cast interact with the director.

The aim of this book is to demystify the technology of stage lighting, and it does so by uniting its text with quotations from literature, thus setting a common ground for the perception and understanding of light, in our daily lives as well as on stage.