Actress and human rights activist Judd has recorded her experiences both abroad and at home in journal entries, which she has woven into a highly personal and powerful memoir about change, hope, and human transformation. This edition of the "New York Times" bestseller features a new Afterword by Judd.

This book, a companion to the author's Pierrot: A Critical History of a Mask (Princeton, 1978), provides a detailed history of nineteenth-century French pantomime, from the feeries of Jean-Gaspard Deburau at the Theatre des Funambules to the cabaret entertainments of Georges Wague at the height of la Belle Epoque. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Through a study of the actress' films, records and writings, Gerda Taranow reconstructs the rigorously developed artistry that lay behind the superb performances. Analyzing each histrionic element and discussing repertoire she shows how Bernhardt adapted the techniques learned at the Conservatoire and in the theatre to her own particular strengths and limitations. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Sarah Bernhardt, London, his own acting--Edwin Booth commented on these and hundreds of other subjects in letters to William Winter, friend of twenty years and drama critic for the New York Tribune. Since he wrote neither autobiography nor diary, the letters constitute the fullest and most detailed record of Booth's career between 1869 and 1890, and arc a new and significant source of information about the actor. The 125 letters which Daniel Watermeier has selected and arranged in this volume are fully annotated; each is preceded by a headnote which provides an introduction to its content and narrative continuity from one letter to the next. Mr. Watermeier's introduction includes biographical sketches of Edwin Booth and William Winter and sets the context of their friendship. With few exceptions, the Booth-Winter letters have not hitherto been made public. They represent a major addition to studies of Edwin Booth and to the history of the American theater. Originally published in 1971. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This account of Thomas Sheridan's career as theater manager has been based on biographies written by his contemporaries, on 18th-century newspapers and pamphlets, and on letters written to and by Sheridan. The author also gives us much new information about Sheridan's relations with David Garrick. In an appendix, the author has included a Smock-Alley Calendar, giving a daily record of performances and casts. Most of the material in the Calendar has not been collected before and should be invaluable to theater historians. Originally published in 1967. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Long considered lost, these extensive interviews between legendary "Rolling Stone" journalist Paul Nelson and Clint Eastwood were discovered after Nelson's death in 2006. Clint Eastwood has forged a remarkable career as a movie star, director, producer and composer. These newly discovered conversations with legendary journalist Paul Nelson return us to a point when, still acting in other people's films, Eastwood was honing his directorial craft on a series of inexpensive films that he brought in under budget and ahead of schedule. Operating largely beneath the critical radar, he made his movies swiftly and inexpensively. Few of his critics then could have predicted that Eastwood the actor and director would ever be taken as seriously as he is today. But Paul Nelson did. The interviews were conducted from 1979 through 1983. Eastwood talks openly and without illusions about his early career as an actor, old Hollywood, and his formative years as a director, his influence and what he learned along the way as an actor - lessons that helped him become the director he is today. "Conversations with Clint" provides a fresh and vivid perspective on the life and work of this most American of movie icons.

(Applause Books). Bill Marx is the last living person to have worked professionally with the three Marx Brothers, his uncles Chico and Groucho and his father, Harpo Marx. Because Chico and Groucho had siblings that had written about them, Bill Marx wanted to complete the Marx Brothers' literary trifecta by authoring a book about the personal and professional relationships that he had with his father. Son of Harpo Speaks , in addition to offering a unique perspective of a very special man and revealing many stories never before in print, is also a book about a "too-Hollywood-to-believe" life-altering quirk of fate that ultimately brought him together with his parents. The background for this remarkable revelation unfolded unassumingly over a glass of wine and some conversation in the famous 1960s nightclub, Dino's Lodge, on Hollywood's Sunset Strip. It would subsequently lead the author to explore the complex life task of dealing with his emotional scars of rejection and the secure feelings of acceptance, the latter due to his overwhelmingly good fortune of having been adopted by two loving parents. Plenty of "show-biz" and "sizzle" are also sprinkled throughout to make for a very enjoyable read.

Film icon Pam Grier finally pulls back the curtain on her turbulent and fascinating life . . .
FOXY
Some may know her as hot, gutsy, gun-totin' Foxy Brown, Friday Foster, Coffy, and Jackie Brown. Others may know her from her role as Kit Porter on "The L Word." But that only defines one part of the legend that is Pam Grier.
Foxy is Pam's testimony of her life, past and present. In it, she reveals her relationships with Richard Pryor, Kareem Abdul-Jabbar, and Freddie Prinze Sr., among others. She unveils her experiences as a backup singer and a blaxploitation star. In particularly candid and shocking chapters, she shares-for the first time-her view of those films and the persecution that blacks, especially women, needed to endure to make a name for themselves . . . including how it felt to be labeled one of the most beautiful women alive, yet not be permitted to try on clothes in a department store because of the color of her skin. And in words sure to inspire many, she tells the story of her ongoing battle with cancer.
From her disappointments to her triumphs, nothing is held back. With FOXY, Pam wishes to impart life lessons to her readers-and hopes to touch their hearts.

'Mary careens across these pages with her usual wit, wisdom and honesty' - Julie Andrews '[A] thoughtful chronicle of one woman's journey through experience to understanding - and a lot of fun to read' - The Washington Post 'Pure pleasure . . . jaw-droppingly shocking' - Daniel Okrent, The New York Times The wonderfully funny, candid and outrageous NYT bestselling memoirs of Mary Rodgers - writer, composer, Broadway royalty, and 'a woman who tried everything.' Mary Rodgers was the daughter of Richard Rodgers, who, with Oscar Hammerstein, wrote some of the biggest musicals of the 20th century-from Oklahoma! and Carousel to South Pacific and The King and I. Shy is the story of how Mary went from angry child, constrained by a self-absorbed mother and her father's overwhelming gift, to finally living life on her own terms-falling in love, often unwisely, marrying twice, having six children, and forging a career of her own. Through her long and rich life Mary grabbed every chance possible-and then some. Her musical Once Upon A Mattress remains one of the rare revivable Broadway hits written by a woman. She was the renowned author of the much-loved Freaky Friday books, as well as a close friend and collaborator of Stephen Sondheim, falling in love with him at 13 over a game of chess. She also dated producer Hal Prince and worked alongside composer and conductor Leonard Bernstein. With copious annotations, contradictions, and interruptions from Mary's collaborator Jesse Green, the chief theatre critic of The New York Times, the result is laugh-out-loud funny and frequently moving. Above all, Shy is a chance to sit at the feet of the kind of woman they don't make any more. They make themselves.

This book engages with the relationship between ruins, dilapidation, and abandonment and cultural events performed within such spaces. Following the author's fieldwork in the UK, Bosnia Herzegovina, Poland, Germany, Greece, and Sicily, chapters describe, investigate, and reflect upon live performance events which have taken place in sites of decay and abandonment. The book's main focus is upon modern economic ruins and ruins of warfare. Each chapter provides several case studies based upon the author's own site visits and interviews with actors, directors, producers, curators, writers, and other artists. The book contextualises these events within the wider framework of Ruin Studies and provides brief summaries of how we might understand the ruin in terms of time, politics, culture, and atmospheres. The book is particularly preoccupied with artists' reasons and motivations for placing performance events in ruined spaces and how these work dramaturgically.