The second edition of this elegant and accessible primer offers a helpful reference and resource for directing actors in film, television, and theatre, useful to directors, actors, and writers. Combining underlying theory with dozens of exercises designed to reveal the actor's craft, Lenore DeKoven discusses constructing the throughline; analyzing the script; character needs; the casting and rehearsal processes; as well as the actor and the camera. Distilling difficult concepts to their simplest form, DeKoven explains how to accurately capture and portray human behavior on stage and screen, offering creative solutions to issues she has encountered or anticipated after decades of experience. Excerpts from interviews with acclaimed actors offer insight into their work with directors, what inspires them, and what they really want from the director. This second edition incorporates the film Moonlight (2016, Barry Jenkins) for analysis of the directing concepts discussed.

Theatre and Dictatorship in the Luso-Hispanic World explores the discourses that have linked theatrical performance and prevailing dictatorial regimes across Spain, Portugal and their former colonies. These are divided into three different approaches to theatre itself - as cultural practice, as performance, and as textual artifact - addressing topics including obedience, resistance, authoritarian policies, theatre business, exile, violence, memory, trauma, nationalism, and postcolonialism. This book draws together a diverse range of methodological approaches to foreground the effects and constraints of dictatorship on theatrical expression and how theatre responds to these impositions.

The Costume Supervisor's Toolkit explores the responsibilities of a Costume Supervisor within a theatrical, opera or dance production company. Rebecca Pride provides an insight into all manner of processes, beginning with a definition of the role, and offers explanations of the timeline from the first design meetings, leading all the way up to managing fittings and final rehearsals. This how-to guide outlines best working practices, including building a team and creating a Costume Bible, whilst also providing helpful resources such as sizing guides, a list of useful addresses, and case studies from renowned theatrical organizations.

Teaching Costume Design and Costume Rendering: A Guide for Theatre and Performance Educators clarifies the teaching process for Costume Design and Costume Rendering courses and offers a clear and tested path to success in the classroom. Drawing on the knowledge and experience of the author’s twenty-five years of teaching as well as many decades of work by multiple other educators, this book provides a clear roadmap for teaching these two popular Theatre courses. It includes information on pedagogical theory, creating syllabi, preparing and structuring classes, crafting lectures, and analyzing students’ work, with a heavy focus on specific teaching projects that have been proven to work in the classroom. All aspects of teaching costume design and rendering are considered, including body awareness, cultural sensitivities, script analysis, elements and principles of design, psychology of dress, choosing fabrics, period styling, and requirements of dance costumes. Included in the appendices are sample syllabi and additional reading and research resources. Teaching Costume Design and Costume Rendering is a guide for theatre and performance educators ranging from secondary education to undergraduate programs and graduate studies. It is a valuable resource both for costume educators approaching costume design and rendering classes for the first time and for experienced instructors looking for new material for these courses.

* The only book that provides a thorough introduction to the current state of play in Australian theatre, including coverage of previously marginalized voices; * Platforms previously marginalized voices in Australia, covering the work of writers of colour, queer writers and gender diverse writers; * Includes a series of duologues between major contemporary Australian playwrights which are provided in both written and podcast form.

Disability and Music Performance examines discriminatory social practices in music conservatoria, orchestras, music festivals and music competitions, which limit disabled people's access to music performance at a professional level. Of particular interest are the disabling barriers that musicians with an intellectual, physical, sensory or neurological disability-or an acquired brain injury-encounter in the world of Western classical music, both as students and as professional performers. This book collects data in the form of semi-structured interviews and video and audio recordings to explore the voice, concerns and suggestions expressed by musicians with disabilities. It examines their perceptions of both inclusive and discriminatory practices in music institutions as well as the representation of, and audio-visual recordings by, key musical figures with disabilities. Its findings aim to contribute to the wellbeing of musicians with impairments by challenging disabling social practices that see them as inferior. This publication offers performers, teachers and researchers new perspectives for exploring some of the most common social dynamics in encounters between normative audiences, musicians and music critics, and musicians with disabilities. It invites the reader to recognise disability as a rightful identity category in music performance and to dismantle the disabling barriers that limit the participation of disabled people in music-making.

Provides concrete strategies for designing for devised productions that haven't yet been collected in one resource. Offers lessons learned from multiple experiences and perspectives through interviews with working practitioners. Gives step by step instructions that can streamline costume design and construction processes.

This book brings to English readers, in its entirety for the first time, a translation of Jose Watanabe's Antigona, accompanied by the original Spanish text and critical essays. The lack of availability in English has resulted in the absence of Antigona from important Anglophone studies devoted specifically to the reception of ancient Greek tragedy in the Americas. Perez Diaz's translation fills this gap. The introduction provides the performative, political, and historical contexts in which the text was written in collaboration with the actress Teresa Ralli, from the Peruvian theater group Yuyachkani, who also originally performed it. Following the bilingual text, a critical essay provides an analysis of textual aspects of Antigona that have been disregarded, situating it in relation to Sophocles' Antigone and in conversation with relevant moments of the vast traditions of reception of the Greek tragedy. An appendix briefly surveys some notable productions of the play throughout Latin America. This comprehensive volume provides an invaluable resource for readers interested in Jose Watanabe's work, students and scholars working on classical reception and Latin American literature and theatre, as well as theatre practitioners.

A ground-floor guide to the practice and philosophy of directing that is open to all, including newcomers to the field. Through a series of concise and engaging essays, Directing Your Heart Out will inspire the next generation of theatre directors by encouraging them to approach the craft through instinct, compassion and the uninhibited expression of their own voice and vision. Each of the book's essays deals with a core principle of directing, such as strategies for directing text; facilitating productive discussion in rehearsals; absorbing criticism; and maintaining a positive work environment. Taken together, they serve as an effective introduction to the fundamentals of directing, or as provocative supplementary readings alongside traditional directing textbooks. En route, it references: > more than 20 directors and choreographers > major contemporary ensembles such as The Wooster Group, SITI Company and Back to Back Theatre > key terminology, such as objective, action, obstacle, realism and absurdism > over 12 plays, including a close-reading of a scene from The Seagull Encouraging an approach to directing that is grounded in self-empowerment and set out accessibly, this book opens up directing to the first-time director or student from a range of backgrounds, as well as the seasoned professional, who will benefit from the many revisionary, fresh perspectives.

Brings together a cohesive and coherent account of the dramaturgy of sound in three key contemporary performance genres. Written for contemporary performance scholars and upper level students, using case studies and clear genre delineations. Moves existing scholarship in this area forward by drawing on a wealth of supplementary material tied to its research funding, including a full dataset, interview footage and a podcast.

The book has high potential for course adoption globally in the areas of creative arts marketing, arts management, creative industries, and marketing; Fully updated to include international case studies from throughout the world, including emerging markets, as well as tools for practical application; Offers an alternative or complimentary approach to the existing textbooks which have a more mainstream marketing management perspective; Includes contributions from leading academics in the field of arts marketing

Globally, we find ourselves in a novel set of circumstances where our individual and collective relationships with leisure have changed dramatically and are being dictated less by personal preferences or even affluence, but rather by health, legal, and societal factors. There is very little published work on changed practices in leisure due to the pandemic, especially focusing on activities that were previously considered ordinary and perhaps even mundane. Contribute to the compilation of a historic record of the way the pandemic has transformed various leisure behaviours in diverse cultural and national contexts at this unprecedented time.

* This collection builds a broad basis for a possible and necessary paradigmatic shift in the field of theater and performance historiography. * Would be recommended reading in for any undergraduate or master's level students studying theatre history, drama and dance. * The closest competitors do not explore the term 'entangled histories'. Therefore this collection breaks new ground by looking at this concept as a new paradigm in the field.

1. This interdisciplinary volume brings together scholars from across the world who have raised pertinent issues regarding the role of stand-up comedy in contemporary times especially with increased presence of OTT platforms and internet penetration that allows for easy access to this art form. 2. It looks at the theoretical understanding of the different aspects of the humour, aesthetics and politics of stand up comedy, as well as case studies of various forms of stand up comedy such as Finnish, Persian, Indonesian, Indian, etc. 3. It will be of interest to departments of media, popular culture, digital culture, sociology, digital sociology/anthropology, and English literature across the US and UK. IT will also appeal to proplr interested in performance and performance studies as it looks at the genre of stand-up comedy in the global context with chapters on Finnish, Australian, Persian and Indian stand-up comedy, to name a few.

Breaks down a dramaturgy's key roles and competencies, mapping out the profession for both current and future dramaturgs. The Basics format ensures a clear, accessible and jargon-free explanation of every aspect of the craft, making this the ideal introduction. Dramaturgy itself is one of the main theatrical skills, distinct from acting and directing but only relatively recently having begun to receive proper attention and recognition.

Shakespeare and the Cultivation of Difference reveals the relationship between racial discrimination and the struggle for upward social mobility in the early modern world. Reading Shakespeare's plays alongside contemporaneous conduct literature - how-to books on self-improvement - this book demonstrates the ways that the pursuit of personal improvement was accomplished by the simultaneous stigmatization of particular kinds of difference. The widespread belief that one could better, or cultivate, oneself through proper conduct was coupled with an equally widespread belief that certain markers (including but not limited to "blackness"), indicated an inability to conduct oneself properly, laying the foundation for what we now call "racism." A careful reading of Shakespeare's plays reveals a recurring critique of the conduct system voiced, for example, by malcontents and social climbers like Iago and Caliban, and embodied in the struggles of earnest strivers like Othello, Bottom, Dromio of Ephesus, and Dromio of Syracuse, whose bodies are bruised, pinched, blackened, and otherwise indelibly marked as uncultivatable. By approaching race through the discourse of conduct, this volume not only exposes the epistemic violence toward stigmatized others that lies at the heart of self-cultivation, but also contributes to the broader definition of race that has emerged in recent studies of cross-cultural encounter, colonialism, and the global early modern world.

Sixteenth-century Italy witnessed the rebirth of comedy, tragedy, and tragicomedy in the pastoral mode. Traditionally, we think of comedy and tragedy as remakes of ancient models, and tragicomedy alone as the invention of the moderns. Women, Rhetoric, and Drama in Early Modern Italy suggests that all three genres were, in fact, remarkably new, if dramatists' intriguingly sympathetic portrayals of and sustained investment in women as vibrant and dynamic characters of the early modern stage are taken into account. This study examines the role of rhetoric and gender in early modern Italian drama, in itself and in order to explore its complex interrelationship with the rise of women writers and the role women played in Italian culture and society, while at the same time demonstrating just how closely intertwined history, culture, and dramatic writing are. Author Alexandra Coller focuses on the scripted/erudite plays of the sixteenth and first half of the seventeenth centuries, which, she argues, are indispensable for a balanced view of the history of drama and its place within contemporary literary and women's studies. As this book reveals, the ascendancy of comedy, tragedy, and tragicomedy in the vernacular seems to have been not only inextricably linked to but also dependent on the rise of women as prominent stage characters and, eventually, as authors in their own right.

A seminal text on what live performance is, what it means, and how it can be theorised. Its second edition is required reading on many theatre and performance studies courses. Uniquely controversial on a subject which continues to be topical. Thoroughly updated to take into account changes in media, scholarship and digital technologies.

This book explores applied theatre practice for children in environments of illness and cure and how it can powerfully normalise children's hospitalisation experience. It is an essential tool for making meaning of children's illness, putting it into a fictional context and developing better control of their clinical experiences. It can be central to raising the standards of care and quality of life during illness. Taken from the author's research and participatory bedside theatre practice in hospitals before, during and after the COVID-19 pandemic, this book demonstrates new learning about aesthetics, ethics, emotions, stories, puppetry, digital arts and research methodologies about children's health and wellbeing. It provides a selection of ten unique stories told by children inspired by applied theatre practice in paediatrics, cardiac, oncology, neurosurgery, burns units and complex and intensive care wards. Stories aid in understanding the language of children's pain for a better assessment and management of pain by healthcare professionals through the arts. It analyses synergistic theatre performance in 'stitched lands' between challenging realities and safe fictionalities. This book enables artists to develop new ways of thinking and contributes to further improvements in the provision of education and reflective learning in the field. It also addresses the emotional labour of the artist in healthcare and makes recommendations for balanced training to prevent emotional exhaustion. Designed for artists, healthcare professionals, therapists, play specialists and teachers who work with children in healthcare, this text aims to help many people find creative ways of making a positive difference in sick children's lives. It is a book for those who love and care for children.

Augusto Boal saw theatre as a mirror to the world, one that we can reach into to change our reality. This book, The Theatre of the Oppressed, is the foundation to 'Forum Theatre', a popular radical form practised across the world. Boal's techniques allowed the people to reclaim theatre, providing forums through which they could imagine and enact social and political change. Rejecting the Aristotelian ethic, which he believed allowed the State to remain unchallenged, he broke down the wall between actors and audience, the two sides coming together, the audience becoming the 'spect-actors'. Written in 1973, while in exile from the Brazilian government after the military coup-d'etat, this is a work of subversion and liberation, which shows that only the oppressed are able to free themselves.

After Robert Armin joined the Chamberlain's Men, singing in Shakespeare's dramas catapulted from 1.25 songs and 9.95 lines of singing per play to 3.44 songs and 29.75 lines of singing, a virtually unnoticed phenomenon. In addition, many of the songs became seemingly improvisatory-similar to Armin's personal style as an author and solo comedian. In order to study Armin's collaborative impact, this interdisciplinary book investigates the songs that have Renaissance music that could have been heard on Shakespeare's stage. They occur in some of Shakespeare's most famous plays, including Much Ado About Nothing, Twelfth Night, Hamlet, and The Tempest. In fact, Shakespeare's plays, as we have them, are not complete. They are missing the music that could have accompanied the plays' songs. Significantly, Renaissance vocal music, far beyond just providing entertainment, was believed to alter the bodies and souls of both performers and auditors to agree with its characteristics, directly inciting passions from love to melancholy. By collaborating with early modern music editor and performing artist Lawrence Lipnik, Catherine Henze is able to provide new performance editions of seventeen songs, including spoken interruptions and cuts and rearrangement of the music to accommodate the dramatist's words. Next, Henze analyzes the complete songs, words and music, according to Renaissance literary and music primary sources, and applies the new information to interpretations of characters and scenes, frequently challenging commonly held literary assessments. The book is organized according to Armin's involvement with the plays, before, during, and after the comic actor joined Shakespeare's company. It offers readers the tools to interpret not only these songs, but also vocal music in dramas by other Renaissance playwrights. Moreover, Robert Armin and Shakespeare's Performed Songs, written with non-specialized terminology, provides a gateway to new areas of research and interpretation in an increasingly significant interdisciplinary field for all interested in Shakespeare and early modern drama.

Working in partnership with the National Theatre, these new playscripts bring the theatre alive in the classroom. Each play has been carefully selected to ensure maximum impact and relevance to students, while the activities and teaching support are underpinned by National Theatre strategies so that teachers can feel confident using these approaches. Vibrant production images and the 'Making the play' section show how the play is brought to life on stage while the activities combine a focus on English skills with the play as a perfomance. Adapted by Bryony Lavery, this is an exciting new adaptation of Stevenson's classic tale of money, murder and mutiny. Young Jim Hawkins leads a quiet life at the Admiral Benbow Inn run by her Grandma. One night, fate brings Billy Bones, a large sea chest and a treasure map to their door. As Jim sets off on a voyage to find the treasure, she encounters a crew of the bloodthirstiest pirates, including the infamous Long John Silver, and she begins to wonder whether any of them will make it back alive...

Peter Brook is known internationally as a theatre visionary, and a daring experimenter on the cutting-edge of performance and production. This book concentrates on Brook's early years, and his innovative achievements in opera, television, film, and the theatre. His productions are viewed separately, in chronological order, suggesting Brook's developing and changing interests. The authors include thought-provoking interviews with Brook (and with numerous outstanding artists who have worked with him) and bring to the reader penetrating critiques of Brook's theories and practices as a man of the theatre.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.