If you want to C reason for taking the time to read my story, then here they are: A Child who survives a Coma that later Causes him Confusion and Creates a Comma, from Convictions of Crime to a life and a Career with a Car Company that made him a number one Commercial sales professional in the Country and then Conquered the Cancer that Claimed the life of his father, which Created in him a Cause to Convey to his Children that Courage is what Chances are made of and is the only Cord to Contention and a will to Continue."

Born in Durban, after university and drama school he toured South Africa with the National Theatre Company before hitch-hiking to London where he took a job with The Sunday Times, and started writing plays in his spare time. He has written screenplays for Columbia Films, 20th Century Fox, Children's Film Foundation, BBC & Independent TV. As an actor, he has appeared in London and has also played leading roles in many provincial theatres, on tours and on the continent. His television appearances have been numerous and he has also worked in film and on radio. He has directed plays at RADA, on the London Fringe, Buxton, Chesterfield, Derby, Worthing, and spent two long spells in America teaching and directing at James Madison University in Virginia and at Furnam University in South Carolina. He currently lives on the island of Crete.

The purpose of this Handbook is to provide students with an overview of key developments in queer and trans feminist theories and their significance to the field of contemporary performance studies. It presents new insights highlighting the ways in which rigid or punishing notions of gender, sexuality and race continue to flourish in systems of knowledge, faith and power which are relevant to a new generation of queer and trans feminist performers today. The guiding question for the Handbook is: How do queer and trans feminist theories enhance our understanding of developments in feminist performance today, and will this discussion give rise to new ways of theorizing contemporary performance? As such, the volume will survey a new generation of performers and theorists, as well as senior scholars, who engage and redefine the limits of performance. The chapters will demonstrate how intersectional, queer and trans feminist theoretical tools support new analyses of performance with a global focus. The primary audience will be students of theatre/ performance studies as well as queer /gender studies. The volume's contents suggest close links between the formation of queer feminist identities alongside recent key political developments with transnational resonances. Furthermore, the emergence of new queer and trans feminist epistemologies prompts a reorientation regarding performance and identities in a 21st-century context.

"Mitchum's tales include beatings, hanging producers by their shoelaces, killings in Mexican bars and slapping Teutonic helmer Otto Preminger. And there are classic observations, such as his quip to Variety that 'the best producer is an absent one.' Mitchum editor Jerry Roberts...conducted one of the interviews, and has done a terrific job piecing together vintage conversations with David Frost, Dick Lochte, Richard Schickel and Charles Champlin, as well as collecting a wonderful array of prize quotes by and about Mitchum." -Steven Gaydos, Variety

A riveting work that continues to probe the Kennedy assassinations by the author of Tiger In The Rain, who was told by Lee Harvey Oswald that president Kennedy was to be assassinated two months before he was killed in Dallas, Texas. The author tears away the veneer of speculative assumption and tells what really happened on that fateful day in Dallas when "they" killed a President, and then murdered his "kid brother," Bobby Kennedy, five years later in a kitchen pantry in Los Angeles. The author reveals the true relationship between the First Lady Jackie and the President John Kennedy. The fabricated image of "Camelot on the Potomac" is stripped aware with bare-essence of fact. The author being the only remaining person alive with personal knowledge of fact, blows out the smoke, shatters the mirrors and exposes the corruption, illuminating in the light of day, the crime of the 20th century. For a more detailed and indepth insight about the author and his works go to website www.RobertClaytonBuick.com.

Fred Zinnemann directed some of the most acclaimed and controversial films of the twentieth century, yet he has been a shadowy presence in Hollywood history. In "Fred Zinnemann and the Cinema of Resistance," J. E. Smyth reveals the intellectual passion behind some of the most powerful films ever made about the rise and resistance to fascism and the legacy of the Second World War, from "The Seventh Cross" and "The Search to High Noon, From Here to Eternity," and "Julia." Smyth's book is the first to draw upon Zinnemann's extensive papers at the Academy of Motion Picture Arts and Sciences and brings Fred Zinnemann's vision, voice, and film practice to life.

In his engagement with the defining historical struggles of the twentieth century, Zinnemann fought his own battles with the Hollywood studio system, the critics, and a public bent on forgetting. Zinnemann's films explore the role of women and communists in the antifascist resistance, the West's support of Franco after the Spanish Civil War, and the darker side of America's national heritage. Smyth reconstructs a complex and conflicted portrait of Zinnemann's cinema of resistance, examining his sketches, script annotations, editing and production notes, and personal letters. Illustrated with seventy black-and-white images from Zinnemann's collection, "Fred Zinnemann and the Cinema of Resistance" discusses the director's professional and personal relationships with Spencer Tracy, Montgomery Clift, Audrey Hepburn, Vanessa Redgrave, and Gary Cooper; the critical reaction to his revisionist Western, "High Noon"; his battles over the censorship of "From Here to Eternity, The Nun's Story," and "Behold a Pale Horse"; his unrealized history of the communist Revolution in China, "Man's Fate"; and the controversial study of political assassination, "The Day of the Jacka"l. In this intense, richly textured narrative, Smyth enters the mind of one of Hollywood's master directors, redefining our knowledge of his artistic vision and practice.

The first monograph on the work of British choreographer Jonathan Burrows, this book examines his artistic practice and poetics as articulated through his choreographic works, his writings and his contributions to current performance debates. It considers the contexts, principles and modalities of his choreography, from his early pieces in the 1980s to his latest collaborative projects, providing detailed analyses of his dances and reflecting on his unique choreomusical partnership with composer Matteo Fargion. Known for its emphasis on gesture and humour, and characterised by compositional clarity and rhythmical patterns, Burrows' artistic work takes the language of choreography to its limits and engages in a paradoxical, and hence transformative, relationship with dance's historical and normative structures. Exploring the ways in which Burrows and Fargion's poetics articulates movement, performative presence and the collaborative process in a 'minor' register, this study conceptualises the work as a politically compelling practice that destabilises major traditions from a minoritarian position.

In this compelling memoir that spans a musician's incredible ride through fifty-four years of life, Donald Darcy provides a glimpse into his journey through a world of music, drugs, and alcoholism, ultimately illustrating that recovery is possible for anyone with a desire to change.

A professional singer and songwriter, Donald details his life during the post-war modulation of the late 1950s, the turbulent 1960s, the drug-soaked 1970s and 1980s, and finally, the introspective 1990s that he has nicknamed "The Age of Recovery." As he shares the process of how he became addicted to alcohol and drugs, Donald chronicles his once-in-a-lifetime experiences that transported him from Carnegie Hall to Monterey Pop and beyond while educating others about the telltale symptoms of addiction. As he explains how he embraced a spiritual awakening and his subsequent recovery, Donald also shares his opinions about drug addiction, treatment, and genetic dispositions that may cause addiction.

"Blues to Blood" illuminates the path of addiction by providing a self-disclosing, real-life story that offers an in-depth understanding for alcoholics, drug addicts, parents, or friends about the plight of addiction, the destruction it leaves in its path, and the inner-peace that recovery brings.

(Amadeus). Violinist and educator Efrem Zimbalist (1890-1985) led a legendary life in music in an age of violin legends. Of the dazzling stars to emerge from the Russian School at the beginning of the 20th century, Zimbalist earned a special place. David Oistrakh compared him to Heifetz: "While Heifetz conquered by sheer brilliance, Zimbalist captivated people by appealing to profound mysteries of heart and soul." Zimbalist was also one of the century's great teachers, for 40 years devoting himself to the renowned Curtis Institute of Music in Philadelphia, serving as its director from 1941 to 1968. His was a remarkable journey, fortunately recounted in hundreds of hours of taped interviews with author and Curtis Institute student Roy Malan, longtime concertmaster of the San Francisco Ballet Orchestra. Malan then waited nearly a decade after Zimbalist's death before seeking publication, so that the story could be told in its entirety. This definitive biography of the world's first globe-trotting virtuoso also includes a discography and a list of Zimbalist's students.

The figure of Stella Adler towers high among the memorable acting teachers in American theatre. Her methods of training, her principles of acting and character interpretation, her analyses of the seminal plays of the modern theatre comprise a legacy for everyone who followed her. In this book, that legacy gains the special immediacy and authenticity of her own spoken words. Over three years in the 1970s, Joanna Rotte worked with Adler as a student and as an actress under her direction, all the white taking the copious notes that have become the heart of this book. Throughout, Adler speaks about her principles in a tough minded and demanding way, inspired by her overriding conviction that as a person an actor 'becomes bigger through working'. This book provides an opportunity to sit in on the classes of this remarkable woman of whom her student Marlon Brando said, "My debt and gratitude to her are enormous. As a teacher of acting, she has few peers. As a human being, few equals."

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

Arriving in New York at the tail end of what has been termed the "Golden Age" of Broadway and the start of the Off Broadway theater movement, Terrence McNally (1938-2020) first established himself as a dramatist of the absurd and a biting social critic. He quickly recognized, however, that one is more likely to change people's minds by first changing their hearts, and-in outrageous farces like The Ritz and It's Only a Play-began using humor more broadly to challenge social biases. By the mid-1980s, as the emerging AIDS pandemic called into question America's treatment of persons isolated by suffering and sickness, he became the theater's great poet of compassion, dramatizing the urgent need of human connection and the consequences when such connections do not take place. Conversations with Terrence McNally collects nineteen interviews with the celebrated playwright. In these interviews, one hears McNally reflect on theater as the most collaborative of the arts, the economic pressures that drive the theater industry, the unique values of music and dance, and the changes in American theater over McNally's fifty-plus year career. The winner of four competitive Tony Awards as the author of the Best Play (Love! Valour! Compassion! and Master Class) and author of the book for the Best Musical (Kiss of the Spider Woman and Ragtime), McNally holds the distinction of being one of the few writers for the American theater who excelled in straight drama as well as musical comedy. In addition, his canon extends to opera; his collaboration with composer Jake Heggie, Dead Man Walking, has proven the most successful new American opera of the last twenty-five years.

Herb Hicks is an artist who understands the fear behind painting a self-portrait but who also appreciates that a candid recounting of events in life can provide an emotional catharsis. It is with this theory in mind that he shares his fascinating personal experiences and insight into his views as he recalls a unique journey through a creative life filled with adventures and misadventures.

In his memoir, Hicks begins with remembrances from his childhood growing up in North Dakota, where he emulated his cowboy heroes by riding a pretend horse, wearing real bearskin chaps, and firing a Red Ryder BB gun at imaginary desperadoes. As he matured, he found a passion for music, formed his own combo, and began traveling to and from gigs that took him from North Dakota to Montana and beyond. Motivated by his love for music, Hicks eventually landed in California, where he began playing professionally and found a new passion as a visual artist-a discovery that leads him down an unforgettable path, questioning his challenges, choices, chances, and changes.

"To and from Gigs" is the intimate memoir of a musician, artist, and teacher who embarked on a lifelong search to find his better self.

How has the work and legacy of Augusto Boal's Theatre of the Oppressed been interpreted and practised around the world? What does it look like in different working contexts? This book provides an accessible introduction to the political and artistic principles Boal's techniques are founded on, tracking exemplary practice from around the globe. Using detailed contemporary case histories, theatre artist, scholar and activist Ali Campbell demonstrates how the underlying principles of Boal's practice are today enacted in the work of - among others - an urban network (Theatre of the Oppressed NYC); a rural and developmental theatre organisation (Jana Sanskriti, West Bengal); Boal's original company CTO Rio (Brazil); and a theatre-based group led by learning-disabled adults in the UK (The Lawnmowers Independent Theatre Company). The book concludes with a series of conversations between Campbell and international exponents of the work, envisioning futures for the Theatre of the Oppressed in the shifting political, educational and artistic contexts of the twenty-first century.

This book analyses the work of applied theatre practitioners using a new framework of 'responsivity' to make visible their unique expertise. In-depth investigation of practice combines with theorisation to provide a fresh view of the work of artists and facilitators. Case studies are drawn from community contexts: with women, mental health service users, refugees, adults with a learning disability, older people in care, and young people in school. Common skills and qualities are given a vocabulary to help define applied theatre work, such as awareness, anticipation, adaptation, attunement, and responsiveness. The Applied Theatre Artist is of scholarly, practical, and educational interest. The book offers detailed analysis of how skilled theatre artists make in-action decisions within socially engaged participatory projects. Rich description of in-session activity reveals what workshop facilitators actually do and how they think, offering a rare focus in applied theatre.

THE WALK-ON is a story about a young man and how he experiences the game of college basketball through his eyes, telling people what it is like going through the rigorous routine of being a division 1 athlete for one of the best basketball programs arguably in the country and finding out what the journey is all about. He experiences many highs and lows throughout the way but shows that inspiration, determination, a good work ethic and a team first attitude is what it takes to make the experience a great one. Playing for 3 coaches in 4 years David shows what it is like adapting to different methodologies and coming together with a group of guys from all around the country to make up a team. David Bagga was a Student-Athlete at the University of Arizona from 2005-2009 and had the privilege of playing for legendary Hall of Fame basketball Coach Lute Olson. He was also teammates with current NBA players Chase Budinger, Jerryd Bayless, Jordan Hill, Marcus Williams, and Hassan Adams. He graduated from the University of Arizona in June of 2009 with a Bachelor of Arts degree in Interdisciplinary Studies and currently resides in Orange County, California. "David is a very team oriented player, all he wants to do is help us win basketball games." - Hall of fame coach Lute Olson