Art & Fear is about the way art gets made, the reasons it often doesn't get made, and the nature of the difficulties that cause so many artists to give up along the way. Drawing on the authors' own experiences as two working artists, the book delves into the internal and external challenges to making art in the real world, and shows how they can be overcome every day. First published in 1994, Art & Fear quickly became an underground classic, and word-of-mouth has placed it among the best-selling books on artmaking and creativity. Written by artists for artists, it offers generous and wise insight into what it feels like to sit down at your easel or keyboard, in your studio or performance space, trying to do the work you need to do. Every artist, whether a beginner or a prizewinner, a student or a teacher, faces the same fears - and this book illuminates the way through them.

Confident with the basics of your craft? Looking to take your writing to the next level? Advanced Fiction gives you the tools to hone your skills by thinking more deeply and systematically about deploying them on the page. Friendly and down-to-earth, Amy Weldon guides you through the realities of craft and process, combining a broad anthology of landmark stories with instruction on the more advanced aspects of fiction writing. Featuring interactive prompts, exercises and suggestions for further reading, this book guides you from larger philosophical issues to subtler technical ones, from topics as diverse as the intricate principles of storytelling to navigating artistic and political landscapes conscientiously and building a writing career. Beginning with a brief recap of the basics, the text goes on to examine: - The psychology of writing and revising - Practical methods for drafting and notebook-keeping - Taking personal and technical risks with ideas, images, and forms - Making responsible decisions about representing identities, bodies, and histories on the page - Complex craft concepts such as world-building, structure, time, and moving from short forms to novels Placing students’ own work in conversation with established stories, the accompanying anthology selections range widely in culture, technique and time period, including authors of dystopia, historical fiction, satire, and fiction in translation as well as literary realists tackling themes like economic inequality, climate change, and identity. Thoughtful and essential, this book provides excellent guidance for students and budding authors on the complexities of fiction writing from the beginning of a writing project – short story or novel – to the end.

The New Writer's Guide to Producing Great Content Everyone has that fabled "book in them" but not everyone has the talent to write it. Right? Wrong. Great writing's not a talent. It's a craft. It can be taught and learnt, affording everyone the confidence to express themselves in words. Writing Well for Work & Pleasure teaches you how to start your writing project and how to keep going. It deconstructs the elements of writing - creating a step-by-step process for generating content that's ready for publication. With tips on style, eloquence and finding your voice, it also teaches you how to write for different audiences, including professionals, the public, students, customers and even your opponents. And it helps writers talk to editors, publishers and other industry insiders. This book is for professionals and academics wanting to write that book; ambitious executives needing to write a white paper to accelerate their careers; managers being asked to write articles for publication; artisans and hobbyists with skills to convey; idealists and polemicists wanting to inspire and agitate; and anyone wanting to write well in order to improve their communications skills. "If you follow Robert Kelsey's advice you will produce better prose, which will be both easier for readers to understand and more persuasive, whichever audience you are addressing. I strongly recommend it," Luke Johnson, columnist, author, serial entrepreneur and Chairman of Risk Capital Partners

Through a close re-examination of Eugene O'Neill's oeuvre, from minor plays to his Pulitzer-winning works, this study proposes that O'Neill's vision of tragedy privileges a particular emotional response over a more "rational" one among his audience members. In addition to offering a new paradigm through which to interpret O'Neill's work, this book argues that O'Neill's theory of tragedy is a robust account of the value of difficult theatre as a whole, with more explanatory scope and power than its cognitivist counterparts. This paradigm reshapes our understanding of live theatrical tragedy's impact and significance for our lives. The book enters the discussion of tragic value by way of the plays of Eugene O'Neill, and through this study, Killian makes the case that O'Neill has refused to allow Plato to define the terms of tragedy's merit, as the cognitivists have. He argues that O'Neill's theory of tragedy is non-cognitive and locates the value of a play in its ability to trigger certain emotional responses from the audience. This would be of great interest to students and scholars of performance studies, literature and philosophy.

Stories do not actually exist in the (fictional or factual) world but are constituted, structured and endowed with meaning through the process of mediation, i.e. they are represented and transmitted through systems of verbal, visual or audio-visual signs. The terms usually proposed to describe aspects of mediation, especially perspective, point of view, and focalization, have yet to bring clarity to this field, which is of central importance, not only for narratology but also for literary and media studies. One crucial problem about mediation concerns the dimensions of its modeling effect, particularly the precise status and constellation of the mediating agents, i.e. author, narrator or presenter and characters. The question is how are the structure and the meaning of the story conditioned by these different positions in relation to the mediated happenings perceived from outside and/or inside the storyworld? In this volume, fourteen articles by international scholars from seven different countries address these problems anew from various angles, reviewing the sub-categorization of mediation and re-specifying its dimensions both in literary texts and other media such as drama and theater, film, and computer games.

This book examines the French theatricalization of India from 1770 to 1865 and how a range of plays not only represented India to the French viewing public but also staged issues within French culture including colonialism, imperialism, race, gender, and national politics. Through examining these texts and available performance history, and incorporating historical texts and cultural theory, David Hammerback analyses these works to illustrate a complex of cultural representations: some contested Orientalism, some participated in Western colonialist discourses, while some can be placed somewhere between these two markers of ideology in Western culture and the arts. He also assesses the works which participated in shaping the theatrical face of Western hegemony, ones directly participating in Orientalism as delineated by Edward Said and others. This book will be of great interest to students and scholars in theatre, French literature, history and cultural studies.

Reading Shakespeare through Philosophy advocates that the beauty of Shakespearean drama is inseparable from its philosophical power. Shakespeare's plays make demands on us even beyond our linguistic attention and historical empathy: they require thinking, and the concepts of philosophy can provide us with tools to aid us in that thinking. This volume examines how philosophy can help us to re-imagine Shakespeare's treatment of individuality, character, and destiny, particularly at certain moments in a play when a character's relationship to space or time becomes an enigma to us. The author focuses on the dramatization of seemingly magical relationships between the individual and the cosmos, exploring and rethinking the meanings of 'individual', 'cosmos' and 'magic' through a conceptually acute reading of Shakespeare's plays. This book draws upon a variety of thinkers including Plato, Aristotle, Leibniz and Kant, in search of a revitalized philosophical criticism of Julius Caesar, Love's Labor's Lost, The Merchant of Venice, Timon of Athens, and Twelfth Night.

Cutting Plays for Performance offers a practical guide for cutting a wide variety of classical and modern plays. This essential text offers insight into the various reasons for cutting, methods to serve different purposes (time, audience, story), and suggests ways of communicating cuts to a production team. Dealing with every aspect of the editing process, it covers structural issues, such as plot beats, rhetorical concepts, and legal considerations, why and when to cut, how to cut with a particular goal in mind such as time constraints, audience and storytelling, and ways of communicating cuts to a production team. A set of practical worksheets to assist with the planning and execution of cuts, as well as step-by-step examples of the process from beginning to end in particular plays help to round out the full range of skills and techniques that are required when approaching this key theatre-making task. This is the first systematic guide for those who need to cut play texts. Directors, dramaturgs, and teachers at every level from students to seasoned professionals will find this an indispensable tool throughout their careers.

Cutting Plays for Performance offers a practical guide for cutting a wide variety of classical and modern plays. This essential text offers insight into the various reasons for cutting, methods to serve different purposes (time, audience, story), and suggests ways of communicating cuts to a production team. Dealing with every aspect of the editing process, it covers structural issues, such as plot beats, rhetorical concepts, and legal considerations, why and when to cut, how to cut with a particular goal in mind such as time constraints, audience and storytelling, and ways of communicating cuts to a production team. A set of practical worksheets to assist with the planning and execution of cuts, as well as step-by-step examples of the process from beginning to end in particular plays help to round out the full range of skills and techniques that are required when approaching this key theatre-making task. This is the first systematic guide for those who need to cut play texts. Directors, dramaturgs, and teachers at every level from students to seasoned professionals will find this an indispensable tool throughout their careers.

-- Embarking on a PhD is daunting as, for most students, it will be their first experience working within the academic system. This guide offers a helping hand during and when making decisions about how to move on with their career, specifically in the biological sciences. -- Examples are tailored to biological science, offering a unique reference for PhD students in these disciplines. -- The author has authored more than 200 peer reviewed scientific papers and book chapters, and five books. He has been the Editor-in-Chief of an ISI journal for 9 years, and has graduated more than 20 postgraduate students. His blog on writing and publishing in biological sciences is read by thousands globally. -- The book is directed toward writing, considered by many to be the most difficult aspect of a PhD. It delves into the practical detail of each aspect from Abstract to Supplementary material. -- Most of the 25,000 universities in the world have postgraduates in biological sciences, and emerging economies, such as India and China, will have special interest in this book as their academic systems still fall outside of the academic mainstream. -- The book has many short, easy to read, chapters which are interconnected to provide a comprehensive treatment of each subject.

Citizen Artists takes the reader on a journey through the process of producing, funding, researching, creating, rehearsing, directing, performing, and touring student-driven plays about social justice. The process at the heart of this book was developed from 2015-2021 at New York City's award-winning Epic Theatre Ensemble with and for their youth ensemble: Epic NEXT. Author and Epic Co-Founder James Wallert shares his company's unique, internationally recognized methodology for training young arts leaders in playwriting, inquiry-based research, verbatim theatre, devising, applied theatre, and performance. Readers will find four original plays, seven complete timed-to-the-minute lesson plans, 36 theatre arts exercises, and pages of practical advice from more than two dozen professional teaching artists to use for their own theatre making, arts instruction, or youth organizing. Citizen Artists is a one-of-a-kind resource for students interested in learning about theatre and social justice; educators interested in fostering learning environments that are more rigorous, democratic, and culturally-responsive; and artists interested in creating work for new audiences that is more inclusive, courageous, and anti-racist.

Citizen Artists takes the reader on a journey through the process of producing, funding, researching, creating, rehearsing, directing, performing, and touring student-driven plays about social justice. The process at the heart of this book was developed from 2015-2021 at New York City's award-winning Epic Theatre Ensemble with and for their youth ensemble: Epic NEXT. Author and Epic Co-Founder James Wallert shares his company's unique, internationally recognized methodology for training young arts leaders in playwriting, inquiry-based research, verbatim theatre, devising, applied theatre, and performance. Readers will find four original plays, seven complete timed-to-the-minute lesson plans, 36 theatre arts exercises, and pages of practical advice from more than two dozen professional teaching artists to use for their own theatre making, arts instruction, or youth organizing. Citizen Artists is a one-of-a-kind resource for students interested in learning about theatre and social justice; educators interested in fostering learning environments that are more rigorous, democratic, and culturally-responsive; and artists interested in creating work for new audiences that is more inclusive, courageous, and anti-racist.

Teaching Writing in Globalization: Remapping Disciplinary Work, edited by Darin Payne and Daphne Desser, examines the impact of globalization on disciplinary work in higher education. Conversely, it also examines the impact of disciplinary work on the shape and evolution of globalization. Payne and Desser collect a series of essays which offer ways of actively engaging globalization from within, not as mere observers or adapters but as citizens with agency. Using writing instruction as its touchstone and rhetoric/composition as a disciplinary case study, the book critically analyzes the shifting work of teaching, research, and administration in academia, exploring ways in which individuals and institutions can respond to the social, economic, and cultural changes presently underway. The authors develop separate chapters from a shared vantage point: one who is critical of the increasing imprint of neoliberalism on education. The essays provide, in both theory and practice, varying means of disrupting, intervening in, and challenging that imprint within the primary domains of academic life-scholarship, pedagogy, and administrative service. Members of varied disciplines will find in this collection a potential model for thinking critically about, and responding proactively to, their own academic work in the context of globalization.

The Theater of Tony Kushner is a comprehensive portrait of the forty-year long career of dramatist Tony Kushner as playwright, screenwriter, essayist, and public intellectual and political activist. Following an introduction examining the influences of Kushner's development as an artist, this updated second edition features individual chapters on his major plays, including A Bright Room Called Day, Hydriotaphia, or The Death of Dr. Browne, Angels in America, Slavs! Thinking About the Longstanding Problems of Virtue and Happiness, Homebody/Kabul, Caroline, or Change, and The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures, along with chapters on Kushner's adaptations, one-act plays, and screenplays, including his two Academy Award-nominated screenplays, Munich and Lincoln. A book for anyone interested in theater, film, literature, and the ways in which the past informs the present, this second edition of The Theater of Tony Kushner explores how his writings reflect key elements of American society, from politics and economics to race, gender, and spirituality, all with the hope of inspiring America to live up to its ideals.

This book explores the interrelation of contemporary French theatre and poetry. Using the pictorial turn in the various branches of art and science, its observable features, and the theoretical framework of the conceptual metaphor, this study seeks to gather together the divergent manners in which French poetry and theatre address this turn. Poetry in space and theatricality of poetry are studied alongside theatre, especially to the performative aspect of the originally theological concept of "kenosis". In doing so the author attempts to make use of the theological concept of kenosis, of central importance in Novarina's oeuvre, for theatrical and dramatological purposes. Within poetic rituals, kenotic rituals are also examined in the book in a few theatrical practices - Janos Pilinszky and Robert Wilson, Jerzy Grotowski and Eugenio Barba - facilitating a better understanding of Novarina's works. Accompanied by new English translations in the appendices, this is the first English language monograph related to the French essayist, dramaturg and director Valere Novarina's theatre, and will be of great interest to students and scholars in theatre and literature studies.

Hypertheatre: Contemporary Radical Adaptation of Greek Tragedy investigates the adaptation of classical drama for the contemporary stage and explores its role as an active, polemical form of theatre which addresses present-day issues. The book's premise is that by breaking drama into constituent parts, revising, reinterpreting and rewriting to create a new, culturally and politically relevant construct, the process of adaptation creates a 'hyperplay', newly repurposed for the contemporary world. This process is explored through a diverse collection of postmodern adaptations of Antigone, Medea, and The Trojan Women, analysing their adaptive strategies and the evidence of how these remakings reflect the cultures of which they are a part. Central to this study is the idea that each of these adaptations becomes an entirely new play, redefining its central female figures and invoking reconfigurations of femininity which emphasise individual women's strengths and female solidarity. Written for scholars of Theatre, Adaptation, Performance Studies, and Literature, Hypertheatre places the Greek classics firmly within a contemporary feminist discourse.

The influence of the women's movement has long been a scholarly priority in the study of British women's drama of the late nineteenth and early twentieth centuries, but previous scholarship has largely clustered around two events: the New Woman in the 1890s and the suffrage campaign in the years before the First World War. Women's Playwriting and the Women's Movement, 1890-1918 is the first designated study of British women's drama from a period of exceptional productivity and innovation for female playwrights. Both the British theatre and women's position within British society underwent fundamental changes in this period, and this book shows how female dramatists carefully negotiated their position in the heated debates about women's rights that occurred at this time, while staking out a place for themselves in an evolving theatrical landscape. Farkas also identifies the women's movement as a key influence on the development of female-authored drama between 1890 and 1918, but argues that scholarly prioritizing of the "radicalism" of work associated with the New Woman and the suffrage campaign has had a distorting effect in the past. Ideal for scholars of British and Victorian theatre, Women's Playwriting and the Women's Movement, 1890-1918 offers a new perspective which emphasizes the complexity of women playwrights' engagement with first-wave feminism and links it to the diversification of the British theatre in this period.

The Theater of Tony Kushner is a comprehensive portrait of the forty-year long career of dramatist Tony Kushner as playwright, screenwriter, essayist, and public intellectual and political activist. Following an introduction examining the influences of Kushner's development as an artist, this updated second edition features individual chapters on his major plays, including A Bright Room Called Day, Hydriotaphia, or The Death of Dr. Browne, Angels in America, Slavs! Thinking About the Longstanding Problems of Virtue and Happiness, Homebody/Kabul, Caroline, or Change, and The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures, along with chapters on Kushner's adaptations, one-act plays, and screenplays, including his two Academy Award-nominated screenplays, Munich and Lincoln. A book for anyone interested in theater, film, literature, and the ways in which the past informs the present, this second edition of The Theater of Tony Kushner explores how his writings reflect key elements of American society, from politics and economics to race, gender, and spirituality, all with the hope of inspiring America to live up to its ideals.

DON'T LET YOUR WRITING HOLD YOU BACK. When you're fumbling for words and pressed for time, you might be tempted to dismiss good business writing as a luxury. But it's a skill you must cultivate to succeed: You'll lose time, money, and influence if your e-mails, proposals, and other important documents fail to win people over. The HBR Guide to Better Business Writing, by writing expert Bryan A. Garner, gives you the tools you need to express your ideas clearly and persuasively so clients, colleagues, stakeholders, and partners will get behind them. This book will help you: Push past writer's block Grab and keep readers' attention Earn credibility with tough audiences Trim the fat from your writing Strike the right tone Brush up on grammar, punctuation, and usage

'You will see no false nothing false tonight' - the Hypnotist Tim Crouch's second play collapses a tale of loss and grief into an exploration of theatrical representation, in a piece of theatre that is at once formally innovative and profoundly moving. Written for two actors, An Oak Tree depicts the fraught meeting of a grieving father and the stage hypnotist who was behind the wheel of the car that killed his daughter, with the father played by a different actor at each performance, walking on stage with no prior knowledge of the play. Catherine Love explores An Oak Tree's connections with conceptual art, the unique process of its creation, its interrogation of stage representation, its relationship with audiences, and its place as part of Crouch's ongoing body of work.