This volume presents a selection of essays by established Italian and international scholars in the field of Romantic drama. It is divided into four main sections: 1) Dramatic Theory and Practice; 2) On the Romantic Stage: History, Arts, and Acting; 3) Interaction of Genres: from Fiction to Drama; 4) The Romantics' Debate on Theatre and Drama: a Selected Anthology. The crucial area of debate these essays address is the way in which the problem of the dramatic representation of the self becomes in Romantic drama the very centre of reflection on the constitution of the modern subject. Each essay explores one or more aspects of the formation of modern subjectivity through dramatic representation of the self and through critical enquiry into the modes of that representation. The first and the fourth sections discuss the complex interaction between the theoretical questions that animated the debate around the Romantic theatre and the multifarious and often unruly performance practices of the time. The other two sections deal with the many and diverse ways in which Romantic drama engaged with and incorporated other artistic genres such as painting, performing arts, music, and the novel.

What is the role of a Director? Tyrannical dictator or creative persuader? Why does the audience matter when interpreting a play? How do you get the best out of actors and what do they expect from you? Directing for the Stage addresses the key questions surrounding this venerable and yet often invisible craft, offering practical guidance on the crucial moments of creating a stage production, including budgeting, auditions, rehearsals, opening night and beyond. From knotty discussions on Shakespeare, to when to call a coffee break, all aspects of the Director's art are examined, including the history and development of the stage Director; how to commission and original play or obtain rights for an existing work; how to timetable the production process - from concept to last night and an hour-by-hour guide to rehearsals and all major approaches.

The poetry and plays of William Shakespeare continue to provide inspiration for designers in all aspect of media. Shakespearean Wig Styling offers detailed historical guidance on the styles and fashions of the day, and guides yo through twelve different wig designs covering a wide range of archetypal Shakespearian characters. Each example offers different techniques to meet the needs of the design, from material, knotting and curling to the final styling choices. Covering both the Tudor and Stuart periods, there are clear instructions within each example for making wigs from start to finish and adapting from the universal full-lace foundation to create alternative foundations, including added support for complicated styles such as the fontange. In addition, the book covers what to expect when working in the theatre or as a freelance wig-maker; fitting your client, measuring and taking a shell; methods for preparing the hair under a wig; knotting facial hair, hairpieces, hairlines, napes and partings; methods for breaking or dirtying down and finally, creating bald caps and receding hairline effects. This comprehensive book is an ideal companion for the newly qualified wig-maker and all professionals looking for a detailed reference guide to hairstyles from the Shakespearean era.

When Black runway models began throwing phones and VH1's "Divas Live" riveted viewers, a new paradigm for Black women had fully evolved in the form of the Black Diva. Tracing the trajectory of the Diva figure from the Italian castrati to Ntozake Shange's Liliane: Resurrection of the Daughter suggests a way around staid and fixed stereotypes about Black womanhood. The Black Diva performs her demands as a quintessential act of survival in a hostile and racist world; she is both a product of and a mark against the male gaze, Black and white. Ultimately, Tipping on a Tightrope: Divas in African American Literature uses present popular culture incarnations of the Diva to detail her long relationship with Black American literary culture.

Cruel Britannia: Sarah Kane's Postmodern Traumatics examines four plays by British playwright Sarah Kane (1971-1999), all written between 1995 and 1999 within the context of the "Cool Britannia", or "In-Yer-Face" London theatre movement of the 1990s. Kane's plays were notorious for their shocking productions and challenging and offensive subject matter. This book analyzes her plays as products of a long history of theatrical convention and experimentation, rather than trend. I read Kane's plays through an optic of trauma theory, and link the trauma to postmodern experience as defined by war, inter-personal violence, repetitive memory, and sex as medium of violence. Kane's plays' unrelenting violence and graphic depictions of violent sex suggest a relationship with theories and practices such as Artaud's theatre of cruelty, and Kroker and Cook's theory of the postmodern as sign of excremental culture and an inherently abject state of being. Through a play by play analysis I conclude that Kane's work suggests that violence and trauma are endemic to postmodern life, and are ultimately apocalyptic due to their culmination in Kane's final play, the suicide text of 4.48 Psychosis.

This work presents a detailed study of the five key ballet organisations that operated in Ireland between 1927 and 1963: the Abbey Theatre School of Ballet, the Abbey School of Ballet, the Sara Payne School and Company, the Irish Ballet Club and the National Ballet School and Company. By examining a previously neglected dimension of Irish artistic life, this study aims to provide a greater appreciation of the various roles that ballet has played in the development of Irish cultural activity. It records the rich interaction between the different dance artists and movements and their collaborators across the entire spectrum of Irish artistic endeavour, including Cecil ffrench Salkeld, F. R. Higgins, Mainie Jellett, Patrick Kavanagh, J. F. Larchet, Louis le Brocquy, Elizabeth Maconchy, Donagh MacDonagh, Brinsley MacNamara, Micheal Mac Laimmoir, Norah McGuinness, A. J. Potter, Lennox Robinson, Michael Bowles, Mary Devenport O'Neill, Anne Yeats and W. B. Yeats. This book breaks significant new ground for an area in which little published information exists. The author pieces together research on the schools and companies from interviews, ballet programmes, playbills, libretti, scores, memoirs, contemporary press reviews, literary articles and photographs, to form a fascinating narrative of the under-researched world of Irish ballet.

This volume provides a history of the most consequential 35mm motion picture camera introduced in North America in the quarter century following the Second World War: the Arriflex 35. It traces the North American history of this camera from 1945 through 1972-when the first lightweight, self-blimped 35mm cameras became available. Chronicle of a Camera emphasizes theatrical film production, documenting the Arriflex's increasingly important role in expanding the range of production choices, styles, and even content of American motion pictures in this period. The book's exploration culminates most strikingly in examples found in feature films dating from the 1960s and early 1970s, including a number of films associated with what came to be known as the "Hollywood New Wave." The author shows that the Arriflex prompted important innovation in three key areas: it greatly facilitated and encouraged location shooting; it gave cinematographers new options for intensifying visual style and content; and it stimulated low-budget and independent production. Films in which the Arriflex played an absolutely central role include Bullitt, The French Connection, and, most significantly, Easy Rider. Using an Arriflex for car-mounted shots, hand-held shots, and zoom-lens shots led to greater cinematic realism and personal expression.

"This collection of essays provides new perspectives on reading, reinterpreting, appropriating and popularising Shakespeare through the work of women - actresses, directors, designers, translators and scholars from different cultural, social and political, mostly non-English speaking, contexts. Raising a wide variety of urgent issues relating not only to Shakespeare but also to the arts, to gender matters, and to postcolonial and ethnic studies, this volume advocates both the illumination of the often neglected, forgotten and rarely appreciated women - who deserve the spotlight of attention on an international level - and the need for revisions in Shakespearean studies, which are dominated by cultural sameness of prevalently male professionals." (Prof. Dr. habil. Bozenna Chylinska, Institute of English Studies, University of Warsaw)

This book throws new light on the complexity and variety of practices which may be defined as 'theatrical' in a broad sense in sixteenth- and seventeenth-century English drama. The volume deals first with the mainstream of dramatic production, starting from the anti-theatrical debate which characterized the whole period and increased in intensity as it went on. Here Shakespeare and Ben Jonson come on stage with their rejoinders to this issue. At the same time, while the universities were offering a kind of theatre workshop importing Latin and Italian models, popular performances were being staged in non-theatrical spaces. Tournaments, and their aristocratic codes, are explored as well as more popular and 'marginal' spectacles -- such as those of conny-catching improvisers, jugglers, gypsy dancers and fortune-tellers, clowns and prophetesses.

Curriculum and the Aesthetic Life brings together over 20 years of scholarly work by dancer, educator, and scholar Donald S. Blumenfeld-Jones on the intersection of curriculum theory and practice with aesthetics, ethics, and hermeneutic inquiry, focusing on the body and emotions and the theory and practice of Arts-Based Education Research, including his noted "Hogan Dreams." He brings to his work an aesthetic sensibility developed over 40 years of active involvement in the arts as well as a Frankfurt School critical theory orientation and a constant concern for building an ethical world through cultivating an aesthetic awareness. This linking of aesthetics and ethics makes a unique contribution to the theoretical foundations of curriculum theory and educational philosophy. Always concerned with connections to practice, this book provides many examples of curriculum practice and teaching as well as scholarly studies of curriculum work. This book is essential reading for anyone involved in the arts and education.

In Staging a Musical, Matthew White describes all the elements involved in putting on a musical production, including: how to choose the right show, budgets and schedules, auditions, rehearsals, and performances.

Theatre Masks Out Side In examines masks from different angles and perspectives, combining the history, design, construction, and use of masks into one beautifully illustrated resource. Each chapter includes key information about an element of mask study: history and uses, theatre traditions, practical principles for directing, performing exercises, design considerations, mask making techniques, and considering makeup as mask. Artist interviews, theatre company profiles, and hundreds of images provide insight into the variety of mask styles and performance applications. Project suggestions, discussion questions, useful worksheets, creative prompts, and resources for sourcing masks are included to inspire further exploration. Theatre Masks Out Side In is designed with the beginning theatre maker in mind, as well as prop makers, costume designers and technicians, and actors learning to use masks in performance.

How Theater Managers Manage brings together the stories, beliefs, and experiences of a few seasoned theater managers. Through them, a portrait and a concept emerge depicting what they have unknowingly practiced throughout their careers. Designed to be a stepping stone for new theater managers, this book covers a wide variety of topics including budgeting theater costs, gross potentials and ticket prices, show contracts, settlements, and emergency and security procedures, to name a few. A sample budget, building forms, and show and performance forms are also included. While most of the experiences in this book relates to commercial theater, many of the ideas put forth can be applied to not-for-profit theater and facility management.

This book brings together twelve specially commissioned essays that showcase current research on Spanish Republican exile theatre and performance, including work by some of the foremost scholars in the field. Covering a range of periods, geographical locations and theatrical phenomena, the essays are united by the common question of what it means to 'stage exile', exploring the relationship between space, identity and performance in order to excavate the place of theatre in Spanish Republican exile production. Each chapter takes a particular case study as a starting point in order to assess the place of a particular text, practitioner or performance within Hispanic theatre tradition and then goes on to examine the case study's relationship with the specific sociocultural context in which it was located and/or produced. The authors investigate wider issues concerning the recovery and performability of these documentary traces, addressing their position within the contemporary debate over historical and cultural memory, their relationship to the contemporary stage, the insights they offer into the experience and performance of exile, and their contribution to contemporary configurations of identity and community in the Hispanic world. Through this commitment to interdisciplinary debate, the volume offers a new and invigorating reimagination of twentieth-century Hispanic theatre from the margins.

The new edition features additional real life application photos, diagrams, examples, and case studies on color theory in makeup design, including new examples of tattoo covering and prosthetic painting using optical mixtures, airbrush, and stippling Features a brand-new chapter on color inspiration in make-up and design Includes expanded discussion on undertones, skin variations, color correction, pigments, colored gels, and more

This book deals with the process of negotiation with the past in the present through the plays of Marina Carr. The title frames the work, connoting the path towards destruction and the sense of lethargy acquired along the way. The book offers an in-depth and extensive reading of Carr's plays. In doing so, it surveys some of the destructive issues represented in the works and provides a series of social and cultural contexts to which the concerns in the works are related. Carr is best known for her trilogy, The Mai, Portia Coughlan and By the Bog of Cats..., and more recently Woman and Scarecrow, The Cordelia Dream and Marble. The plays are regularly concerned with notions of identity in the context of self-destruction, self-estrangement and displacement. This book applies Julia Kristeva's theory of abjection to Carr's plays in an effort to structure the loss the author identifies in the works. Themes of memory, history and myth are examined in the context of these concerns in provocative and confrontational ways.

Award-winning Lighting Designer Marcus Doshi investigating lighting design from a philosophical and aesthetic perspective, how it grew from the movements of the broader art worlds of the late 19th through the 21st centuries, and where it stands now, citing influences as diverse as Jennifer Tipton, Dieter Rams, and Dave Hickey. Written by a practitioner for practitioners and advanced level lighting students. Features color images to illustrate discussed concepts.

This popular book describes in detail a stage manager's job. It provides those just starting out in the profession with a solid grounding in theatre stage management practices and procedures. The disciplines of lighting, set design and sound are discussed but the main focus is the management of these elements and the processes and scheduling that go together to provide effective results. Chronologically following the production of a play, the book starts with pre-production planning and progresses to opening night. With easy reference checklists and a full glossary, it is the essential guide to stage management.

An easy to follow, quick reference introductory guide for beginning professionals and students in filmmaking and postproduction. It explains all film laboratory procedures in the context of the wide range of technology that is used by filmmakers, explaining what happens and why at every stage. A technical understanding of film processing and printing, telecine and laboratory and digital processes will help you get the best results for your film. The book is particularly useful for those who have come to film making from other media - video or digital. The book is based on the author's own experience as a lab technician and technical film consultant and provides answers to many frequently asked questions. The different pathways for film production and postproduction are demonstrated as well as the function of the lab at each stage of the process. The complete range of services is offered, with particular emphasis on the often confusing requirements for super 16 and the blow up to 35mm, the intricacies of negative cutting to match a non-linear edit and the process of grading and regrading for the answer print. This new edition includes: * An update on all digital formats of image and sound * Revision sections on Super 16, Super 35 * Additional information on syncing rushes at telecine and to digital images * The latest telecine machines * A new, clear and simple glossary

Readers of Mike Uva's GRIP BOOK who are interested in more detailed information on the work of the grip department will welcome his new rigging manual, clearly detailing all the ways to mount cameras and lights both on a set as well as on location. The book covers the latest truss systems, rigging equipment and portable stages, as well as lifts, boom arms and camera mounts for every type of moving vehicle. The book is not limited to equipment specifications, however; Uva offers tips and tricks throughout in order to make the process of setting up and shooting safer and more efficient. Grips often need to invent makeshift solutions in a short time, and Uva shares many such devices developed over his years in the film and TV industry. This book will help grips and key grips move on to the bigger feature projects and commercials that require this equipment. It will also be useful for directors of photography and producers in pre-planning the required equipment for specific shots.

A rare behind-the-scenes look at the rehearsal sessions of acclaimed directors and actors. Cole offers a view of what is often hidden from the public eye: what actors and directors do when they prepare a dramatic text for performance.

An introductory guide for students learning professional make-up, hairdressing and wardrobe skills and `front of camera' professionals needing an understanding of the techniques. Written by an experienced professional, this manual offers a step-by step approach for the complete beginner with diagrams to show procedures for a variety of make-up effects, from corrective and character make-up, to period dramas, special effects and prosthetics. It describes the skills required of the job, introduces special make-up products and how to apply them for different effect and sets the context for the make-up artist's role, by considering technical requirements such as lighting, camerawork and chroma-key backgrounds.

This guide to the fundamentals of stage lighting includes a series of projects to allow experimentation, discussion and analysis. The necessary equipment is described in relation to its purpose, along with checklists and hints for practical use. The practical handling of light, with observation of the relationship of cause to effect, is central to the study of stage lighting. Rehearsal pressures usually restrict the time available for experimenting with lighting for a performance, but laboratory-style projects can be used to enable specific lighting problems to be solved. The core of this book is a series of 'discovery' projects using minimal resources, to explore the use of light in the theatre, with particular emphasis on the interaction of conflicting visual aims. The projects cover all the major scenarios likely to be encountered by lighting students and have been tried and tested by the author, who has taught lighting students all over the world for over 30 years. The book has been updated to include more on safety and the latest technology including: - fixed instruments using the new lower wattage high efficiency lamps in combination with dichronic reflectors - an increase in the availability, reliability, range and usage of 'moving light' technology based on remotely controlled instruments. New lighting projects have also been added. If you are studying the art and craft of stage lighting this book is an excellent working manual that will provide you with the technical knowledge and skill to cope with a range of lighting situations.

Twenty chapters detailing all of the fundamentals -- everything the aspiring stage technician needs to know to get started in backstage work! All sections highlighted with photographs, illustrations and diagrams. Major topics include: stage and rigging; production staff; properties; sound; lumber, tools and hardware; scenery construction; lighting instruments; control of light and colour; electricity and devices. The what, when and why of all backstage equipment and how to use it to maximum effect with safety, speed and efficiency.

This is the first collection of critical essays to appear about the Wooster Group. Since the 1970s this groundbreaking, New York-based performance company has led the way in crystallizing the conditions of contemporary stage practice at the intersection of several cultural and artistic traditions. As demonstrated by the assembled critics, each of them an authority in the field, these traditions extend into the past as well as into the future, through the Wooster Group's impact on the latest generation of performance artists. The company's consequent institutionalization is posited and challenged in the essays constituting Part I of the collection. Part II tackles the work-in-progress, mapping its idiomatic stage vocabulary and providing case studies, ranging from Frank Dell's The Temptation of St. Antony to To You, The Birdie! (Phedre). Part III presents productions by kindred artists such as Elevator Repair Service, the Builders Association, Cannon Company, and Richard Maxwell. Lavishly illustrated with photographs, this collection should prove invaluable to anyone with an interest in the current theatrical scene and its place in the wider institutional, artistic, and historical contexts.