THE ACTING COACH APPROACH:48 MONOLOGUES FOR KIDS AND HOW TO MASTER THEM is the only book of it's kind. It not only contains original, active, funny and dramatic monologues, but it also assists the actor so they get the most for their efforts. Each monologue is accompanied by a series of questions. The questions are designed to trigger the actor's imagination and help the actor create clear images and create better characters. The questions also help the actor to memorize the piece because they are now memorizing images instead of words on a page. JON EMM has included a practice monologue and he answers all the questions that accompany it. Jon teaches actors how to find hints in the punctuation, grammar and directors notes as well. This book also has a bonus section called NAILING THE AUDITION. Actor LANA YOUNG presents a step-by-step approach, with many helpful hints, to succeed in any audition. This is an important book for actors at any level. It is great for teachers as well.

"The whole world of modeling is open to you in a way it never has been before," says veteran fashion model Christie Gabriel at the beginning of this book. "But to succeed, you need knowledge it takes years in the industry to gain." Gabriel has that knowledge. In her decade-plus modeling career, she's done everything from high fashion runway to posing for college art classes. She's been both a freelancer and represented by agencies such as Elite and Irene Marie, and worked in all the major American markets, as well as Europe. She lays out what she has learned in this step-by-step guide for anyone trying to break into the modeling field.

What is an immersive soundscape? It can be as simple as a recording made in a forest: leaves crunching underfoot, birds chirping, a squirrel chattering. Or it can be as complex as a movie soundtrack, which involves music but also uses many other sounds--to set the mood for the action and to literally put the viewer in the picture. Sound art defies categorization, and artists using this medium describe their work in many different ways: as sound installations, audio art, radio art, and music.
"The Art of Immersive Soundscapes" provides a fascinating tour of contemporary sound art practices that comprises scholarly essays, artists' statements, and a DVD with sonic and visual examples. Included are perspectives from soundscape composition and performance, site-specific sound installation, recording, and festival curation. The book and accompanying DVD will appeal to a broad audience interested in music, sound, installation art, the environment, digital culture, and media arts. Importantly, it recognizes the pioneering place of Canadian sound artists within this international field.

The Greek Music Drama marks an intriguing moment in the development of Nietzsche's thought. Delivered in 1870 at the Basel Museum, it was the first public enunciation of the great themes that would echo throughout Nietzsche s philosophy: the importance of aesthetic experience for culture, the primacy of the body and physiological drives, and the centrality of music to Greek tragedy. Here we see Nietzsche s genealogical methodology in embryonic form alongside the anti-humanist aesthetics that will bloom in his later work. Addressing the material conditions of Greek theater in detail, Nietzsche repudiates the abstract scholarly approach to the art of classical antiquity, proposing that in its stead we cultivate different emotional and intellectual powers in order to gain greater insight into that art. This seminal lecture offers an account of tragic experience from the sole perspective of the Dionysian, presenting a reading of nature of startling and far-reaching implications. While The Greek Music Drama is a text written on the brink of the insights that inform The Birth of Tragedy, it stands on its own right as a singular text. This work is of considerable importance and is now made available in English for the very first time, with the translation set parallel to the original German in this elegant bilingual edition. Paul Bishop s preface and informative critical notes and Jill Marsden s illuminating introduction not only serve to make good the comparative neglect this seminal text has suffered in Nietzsche studies, they also lend the unique expertise of two Nietzsche scholars to the early thought of a philosopher who is crucial not just to philosophy scholars and aficionados, but to anyone interested in theater, performance, and the art of tragedy.

Preface: Offer all and everything; afterwards, give more. These monologues were written for the sole purpose of guaranteeing, an actor's development, wow factor, and success in all auditions. Each monologue beyond these pages is given great care to accomplish this mission. Furthermore, the monologues have vague abstracts; purpose, expand the actor's technique of constructing concrete backstories and stronger personalization. Only stage directions are established to guide you through the 1 to 2 minute monologues. Furthermore, to mimic actual dialogue; fragments and run-on sentences are utilized intentionally. In addition, both sexes are able to showcase their talent, without compromising their sex/gender credibility with each monologue. Dive in and contemplate every word and punctuation. Gather the confidence and trust within yourself, to harness these monologues. The blueprint has been displayed, solely you, can build the skyscraper to stand on. Break a Leg

Plays with Films brings together texts of the final three productions of Richard Foreman s Ontological-Hysteric Theater at St. Mark s Church-in-the-Bowery: Zomboid (2006), Wake Up Mr. Sleepy Your Unconscious Mind is Dead (2007), and Deep Trance Behavior in Potatoland (2008). In these three exhilarating and challenging works, Foreman turns to a meditation on the mechanical and digital reproductions of screen images within the discipline of theater, and thereby recalibrates and expands the potential relationship we can have with the live art that is theater. Extending the model of theater as a reverberating machine, Foreman s use of film in these plays is intimately integrated into the complex network of impulse generators, creating an unprecedented experience of multi-dimensional scriptural space, a new kind of total theater that effectively recharges and redirects the issues of consciousness he has been exploring with indefatigable intensity since the establishment of his theater in 1968. The bodied reality of theatrical experience, and the recognition of unconsciousness within that experience, becomes more fraught with peril in today s screened world. These plays, originally conceived as his final theater works (though he did change his mind), engage in ways that continue his ambition to upend habitual thinking and may prove transformative for the individual s ability to interpret and understand the threats of deadening conformity and loss of identity through the new digital culture. Employing an innovative typographical presentation, Plays with Films demonstrates how America s most daring theater artist alchemizes reproducible and non-reproducible reality into a unique contemplation of the project of self-construction in the 21st century.

Moni Mekhala and Ream Eyso retells the sacred drama of the same name, a tale in which rivaling students of a powerful hermit bring life to lightning, thunder, and rain. Weaving together interviews, essays, photographs, and illustrations, the book uses the story to explore the evolution of the Khmer classical dance tradition, the passage of leadership within artistic tradition nearly destroyed by genocide, and the circumstances of today's women. Additional contributors include award-winning choreographer Sophiline Cheam Shapiro, cultural anthropologist Toni Shapiro-Phim, and visual artist Brian Mendez. " An] enlightening and engaging exploration of one of the most important works in the Cambodian dance drama repertory... A love letter to the character of Moni Mekhala and all of the women who have safeguarded this exquisite art form for generations, this book is a testament to the power of myth in our everyday lives." Cecily Cook Senior Program Officer, Asian Cultural Council - New York "This book is profoundly artist-centered and thus offers an utterly unique and intimate account of Khmer classical dance. This is the first book to acknowledge how gender and sexuality can be interrogated through Khmer dance, whether in the distant Cambodian past, in a post-genocide present, or in Long Beach, California." Dr. Deborah Wong Professor of Music, University of California - Riverside President of Board of Directors, Alliance for California Traditional Arts "Lovingly conceived... Moni Mekhala and Ream Eyso captures the essence of a woman's strength and resilience in the midst of raging violence. It is a book I would want to get as a gift to all the girls and women in the various circles of my life." Chivy Sok Cambodian American human rights advocate and co-founder of Devata Giving Circle

Tracing the configuration of the slapstick, destitute Peladita/Peladito and the Pachuca/Pachuco (depicted in flashy zoot suits) from 1928 to 2004, Wild Tongues is an ambitious, extensive examination of social order in Mexican and Chicana/o cultural productions in literature, theater, film, music, and performance art. From the use of the Peladita and the Peladito as stock characters who criticized various aspects of the Mexican government in the 1920s and 1930s to contemporary performance art by Maria Elena Gaitan and Dan Guerrero, which yields a feminist and queer-studies interpretation, Rita Urquijo-Ruiz emphasizes the transnational capitalism at play in these comic voices. Her study encompasses both sides of the border, including the use of the Pachuca and the Pachuco as anti-establishment, marginal figures in the United States. The result is a historically grounded, interdisciplinary approach that reimagines the limitations of nation-centered thinking and reading. Beginning with Daniel Venegas's 1928 novel, Las aventuras de don Chipote o Cuando los pericos mamen, Rita Urquijo-Ruiz's Wild Tongues demonstrates early uses of the Peladito to call attention to the brutal physical demands placed on the undocumented Mexican laborer. It explores Teatro de Carpa (tent theater) in-depth as well, bringing to light the experience of Mexican Peladita Amelia Wilhelmy, whose "La Willy" was famous for portraying a cross-dressing male soldier who criticizes the failed Revolution. In numerous other explorations such as these, the political, economic, and social power of creativity continually takes center stage.

A night out. Friends, alcohol, a shit club, a strop - the usual. But tonight is different. Tonight will change things forever. With Love Steals us from Loneliness, Gary Owen, one of Wales's foremost playwrights, returns to his hometown of Bridgend. The media have told us their Bridgend story, but what will a writer who spent his own teenage years here have to say?

"Perform these poems! Do it your way!" Peggy C. Hall invites teachers of English, drama, music, art, technology to use these two full-length poetry "shows" (or individual poems) as springboards to innovative, collaborative or solo, interpretations of the spoken word. An overarching theme in each show--the difference/sameness between perception and reality--makes the poems perfect for humorous, somber, electric, moving auditions, duets, ensemble showcases by high school, university, or professional performers. In her "Poet's Preface," Hall briefly outlines the multi-media responses by actors in Miami, FL productions of 2007 and 2008 to the poet's challenge: "Inhale these poems. Exhale your soul."

In !Presente! Diana Taylor asks what it means to be physically and politically present in situations where it seems that nothing can be done. As much an act, a word, an attitude, a theoretical intervention, and a performance pedagogy, Taylor maps !presente! at work in scenarios ranging from conquest, through colonial enactments and resistance movements, to present moments of capitalist extractivism and forced migration in the Americas. !Presente!-present among, with, and to; a walking and talking with others; an ontological and epistemic reflection on presence and subjectivity as participatory and relational, founded on mutual recognition-requires rethinking and unlearning in ways that challenge colonial epistemologies. Showing how knowledge is not something to be harvested but a process of being, knowing, and acting with others, Taylor models a way for scholarship to be present in political struggles.

Essays, criticism, and performance scripts written between 1985 and 2003 by an artist whose artistic practice investigates and reveals the social structures of art and its institutions. Andrea Fraser's work, writes Pierre Bourdieu in his foreword to Museum Highlights, is able to "trigger a social mechanism, a sort of machine infernale whose operation causes the hidden truth of social reality to reveal itself." It often does this by incorporating and inhabiting the social role it sets out to critique-as in a performance piece in which she leads a tour as a museum docent and describes the men's room in the same elevated language that she uses to describe seventeenth-century Dutch paintings. Influenced by the interdisciplinarity of postmodernism, Fraser's interventionist art draws on four primary artistic and intellectual frameworks-institutional critique, with its site-specific examination of cultural context; performance; feminism, with its investigation of identity formation; and Bourdieu's reflexive sociology. Fraser's writings form an integral part of her artistic practice, and this collection of texts written between 1985 and 2003-including the performance script for the docent's tour that gives the book its title-both documents and represents her work. The writings in Museum Highlights are arranged to reflect different aspects of Fraser's artistic practice. They include essays that trace the development of critical "artistic practice" as cultural resistance; performance scripts that explore art institutions and the public sphere; and texts that explore the ambivalent relationship of art to the economic and political interests of its time. The final piece, "Isn't This a Wonderful Place? (A Tour of a Tour of the Guggenheim Bilbao)," reflects on the role of museums in an era of globalization. Among the book's 30 illustrations are stills from performance pieces, some never before published.

An illustrated study of performance and video artist Joan Jonas's 1974 video, an elliptical narrative that moves between the countryside of Nova Scotia and the artists's New York City studio. Joan Jonas approaches video as a drawing tool, a mirror, and a framing device. Since 1968, she has used video and performance to explore ways of seeing, the rhythms of ritual, and the archetypal authority of objects and gestures. With her influential 1976 work, I Want to Live in the Country (And Other Romances) Jonas nimbly structures an elliptical narrative that unmistakably establishes her voice and visual lexicon. I Want to Live in the Country features two locations-the untamed landscape of Nova Scotia and an artist's studio in New York City-as it examines themes of loss, displacement, time, and memory through still life compositions and Super-8 footage. Jonas creates a meditation of frames within frames, monitors within monitors, overlaid with poetic musings-a murmured story of the unconscious. Jonas's influences have included the writing of Samuel Beckett, the films of Yasujiro Ozu, Japanese Noh theater, and the work of John Cage. Stripped down to intimate, indelible gestures, I Want to Live in the Country (And Other Romances) explores a Beckettian dilemma: "I am both the observer and the object that I observe. Which of the two is the real 'I'?" In this richly illustrated Afterall book, Susan Morgan examines the emergence of Jonas's original work from this synthesis of influences and ideas.

Anyone who wants to start a youth storytelling group or troupe will find a wealth of practical information and inspiration in this guide. Written by two veteran storytellers and storytelling group leaders, this book takes you step by step through the entire process of planning, starting, managing, and growing your storytelling group-even up through taking the show on the road. Complete instructions for teaching storytelling skills and performing are accompanied by dozens of reproducible activities and practical tips-from how to recruit members and how to adapt stories for telling to what to wear when performing, and fundraising ideas. Storytelling is a powerful teaching and learning tool. It increases literacy and language skills, builds creativity and imagination, instills confidence, encourages cooperation and collaboration-and it's great fun for everyone! Share the gift of storytelling with young people and watch them grow. Grades 4-12.

Twentieth-century art has often been characterized as a swiping break from the tradition of painting. All the major art movements, from Cubism and Dada to Performance and Installation, were initiated as reactions to the centuries-old tradition of representing the world visually in recognizable ways. New definitions of art and the countless ways in which art can be made and experienced now place the artist firmly at the center of the artistic enterprise.

This intelligent survey traces the history of new media in art and includes discussions of video art, digital art, and media and performance by artists such as Nam June Paik, Vito Acconci, Marina Abramowic, Pipilotti Rist, and Bill Viola. Initiated by advances and inventions outside the world of art, technology-based art (which encompasses a wide range of practices from photography to film to video to virtual reality) has directed artists into areas once dominated by engineers and technicians.

'Roger Kneebone is a legend' Mark Miodownik, author of Stuff Matters 'Fascinating and inspiring' Financial Times 'The pandemic has made the necessity of relying on experts evident to all . . . this is a rich exploration of lifelong learning' Guardian What could a lacemaker have in common with vascular surgeons? A Savile Row tailor with molecular scientists? A fighter pilot with jazz musicians? At first glance, very little. But Roger Kneebone is the expert on experts, having spent a lifetime finding the connections. In Expert, he combines his own experiences as a doctor with insights from extraordinary people and cutting-edge research to map out the path we're all following - from 'doing time' as an Apprentice, to developing your 'voice' and taking on responsibility as a Journeyman, to finally becoming a Master and passing on your skills. As Kneebone shows, although each outcome is different, the journey is always the same. Whether you're developing a new career, studying a language, learning a musical instrument or simply becoming the person you want to be, this ground-breaking book reveals the path to mastery.

Every month, the art association HMKV presents the latest videos by international artists in its series "HMKV Video of the Month" which has been ongoing since March 2014. The idea for the series came from the desire to show the newest artistic productions in rapid succession, changing works at a faster pace than in the exhibitions of the HMKV. For the first time, this publication unites all 78 works that have been exhibited since 2014. The videos address a variety of different topics and stories, ranging from labour conditions, structural changes, speculative technologies, or posthuman machines to technology (and its history) as well as artificial intelligence. A wide array of works is devoted to the old 'new' right-wingers and the alt-right. The book not only shows stills of all videos, but each work is also accompanied by an introductory text to provide a comprehensive overview. Text in English and German.

The Methuen Drama Companion to Performance Art offers a comprehensive guide to the major issues and interdisciplinary debates concerning performance in art contexts that have developed over the last decade. It understands performance art as an institutional, cultural, and economic phenomenon rather than as a label or object. Following the ever-increasing institutionalization and mainstreaming of performance, the book's chapters identify a marked change in the economies and labor practices surrounding performance art, and explore how this development is reflective of capitalist approaches to art and event production. Embracing what we perceive to be the 'oxymoronic status' of performance art-where it is simultaneously precarious and highly profitable-the essays in this book map the myriad gestures and radical possibilities of this extreme contradiction. This Companion adopts an interdisciplinary perspective to present performance art's legacies and its current practices. It brings together specially commissioned essays from leading innovative scholars from a wide range of approaches including art history, visual and performance studies, dance and theatre scholarship in order to provide a comprehensive and multifocal overview of the emerging research trends and methodologies devoted to performance art.

All the girls love a bastard. Tom Jones follows the adventures of a young man of illegitimate birth through a tale of love, deception and mistaken identity; a feast of human nature, served up in the plain and simple manner of the West Country with all the high French and Italian seasoning of sex and vice. Will he gain his darling Sophia's hand? Will he escape the hangman's noose? Will he ever learn to keep it in his trousers...? Henry Fielding's comic picaresque novel 'A History Of Tom Jones, a foundling' caused a stir upon first publication in 1749. Often referred to as the first novel in the English language, this cunning new stage version tells the escapades and exploits of the infamous protagonist through an accessible and highly entertaining adaptation.

In May 2011, Munich-based artists Thomas Huber and Wolfgang Aichner set off with a seventeen-foot boat on a journey of a few hundred miles that would nonetheless take several weeks--because the route would take them across Italy's Zillertal Alps. Destined for the 2011 Venice Biennale, Huber and Aichner conceived of this seemingly Sisyphean task, "Passage 2011," as a metaphor for human hubris and the pursuit of success. As neither expected to complete the pass, "Passage 2011" would also serve as a study of failure.
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Passage 2011: An Actionistic Transalpine Drama "draws on the artists' photographs and detailed journal entries to reconstruct this epic journey, its moments of heartwarming success and its physically and mentally testing travails, including one instance in which they had to rappel the cheery red boat down a steep rock face that dropped more than two hundred feet. As a finale, Huber and Aichner launched the boat in the Venice Lagoon for a triumphant cruise along the Grand Canal, where, as expected, it rapidly sank and had to be retrieved in order to be installed in its place at the Biennale.

The art avengers...took on toxic debt culture - and won the Guardian These artists want to blow up the whole financial system The New York Times Meet the Bonnie and Clyde of bad debt! When art meets finance, 'The Big Bang' takes on a whole new meaning. This is brilliant performative protest. Kate Raworth, author of Doughnut Economics Bank Job is a white-knuckle ride into the dark heart of the global financial system. Artist and filmmaker duo Hilary Powell and Dan Edelstyn discover that behind the opaque language of loans and the defunct diagrams of money and debt is a system flawed by design and ripe for hacking. They assemble a team and bring a community together by printing their own money in a disused bank in East London, in order to buy up and abolish local debt. Part daring tale, part personal memoir and part economic education, this book is perfect for fans of Grace Blakely and David Graeber. Bank Job shows how the financial system can be changed to meet the needs of the many, not just the few one bank job at a time.