Clown: The Physical Comedian is a detailed and comprehensive workbook for those interested in the art of clowning and physical theatre, including actors, directors, improvisers, stand-up comedians, circus artists, mask performers and devisers of new work. Offering an extensive and hugely diverse compilation of tried-and-tested exercises and games, the book is for students, teachers and practitioners to aid ensemble-building, character development, devising theatre, physicalising text and vocalising movement, plus creating cabaret acts, clown routines and adding physical play to scripted scenes. It offers advice on subjects such as developing presence onstage; increasing strength, flexibility and physical expression; developing partner and trio relationships; understanding the power of the mask; and working with an audience - in particular, turning a performance into a conversation with the audience and increasing the actor's ability to connect with a crowd. The exercises and teachings have been developed in classrooms, workshops and theatres all over the world and the book is packed with insights from the author, who has worked for over 35 years in a wide variety of venues, from intimate performance spaces to large-scale sports stadiums.

Though Romantic elements in stage design are often thought to have ended with the advent of the Victorian era, they in fact persisted into the second half of the nineteenth century. Romantic stages were used in the productions of many of the most prominent actor-managers of the period, including Madame Vestris, Charles Kean, Wilson Barrett, Henry Irving and Herbert Beerbohm Tree. This work shows how the emphasis placed on the visual elements of Victorian productions - the spectacular romantic settings and historically accurate costumes - revolutionized the position that stage designers held. They emerged from anonymity, becoming recognized and highly-praised collaborators in the creative process.

Every great design has its beginnings in a great idea, whether your medium of choice is scenery, costume, lighting, sound, or projections. Unmasking Theatre Design shows you how to cultivate creative thinking skills through every step of theatre design - from the first play reading to the finished design presentation. This book reveals how creative designers think in order to create unique and appropriate works for individual productions, and will teach you how to comprehend the nature of the design task at hand, gather inspiration, generate potential ideas for a new design, and develop a finished look through renderings and models. The exercises presented in this book demystify the design process by providing you with specific actions that will help you get on track toward fully-formed designs. Revealing the inner workings of the design process, both theoretically and practically, Unmasking Theatre Design will jumpstart the creative processes of designers at all levels, from student to professionals, as you construct new production designs.

This practical and informative book outlines everything you need to know about set, costume and lighting design from initial concept, script analysis, research ideas and putting it all together. The book is structured in several layers with the main chapters covering the key steps in the design process, followed by a case study-the Queensland Theatre Company's production of Pygmalion which Curtis designed the sets and costumes for-giving practical working samples relating to each step in the process. The further thinking sections investigate more complex aspects of how designers work, and can be read in sequence or as specialised thought-provoking topics.

Learn first-rate techniques and tips from some of the best makeup artists in the business in the new edition of The Makeup Artist Handbook. Renown makeup pros Gretchen Davis and Mindy Hall bring an impressive set of experience in all areas to the book, including work on Teenage Mutant Ninja Turtles, Steve Jobs, The Wolf of Wall Street, Blue Jasmine, Star Trek, Pearl Harbor, HBO's Looking and many other films and TV shows. This full-color, comprehensive new edition offers brand new photographs and on-the-job examples to demonstrate makeup techniques and fundamentals on topics such as beauty, time periods, black and white photography and up-to-date information on cutting-edge techniques like computer-generated characters, makeup effects, mold-making, air brushing, and plenty of information on how to work effectively on set.

This book coincides with an increase in the programming of live art elements in many galleries and museums. Traditional art history has, however, been wary of live art's interdisciplinarity and its tendency to encourage increased formal and conceptual risk taking. Time-based performances have challenged the conventions of documentation and the viewer's access to the art experience. This book questions the canon of art history by exploring participation, liveness, interactivity, digital and process-based performative practices and performance for the camera, as presented in gallery spaces. The essays present both academic research as well as case studies of curatorial projects that have pushed the boundaries of the art historical practice. The authors come from a wide range of backgrounds, ranging from curators and art producers to academics and practising artists. They ask what it means to present, curate and create interdisciplinary performative work for gallery spaces and offer cutting-edge research that explores the intricate relationship between art history, live and performing arts, and museum and gallery space.

Point of Sale offers the first significant attempt to center media retail as a vital component in the study of popular culture. It brings together fifteen essays by top media scholars with their fingers on the pulse of both the changes that foreground retail in a digital age and the history that has made retail a fundamental part of the culture industries. The book reveals why retail matters as a site of transactional significance to industries as well as a crucial locus of meaning and interactional participation for consumers. In addition to examining how industries connect books, DVDs, video games, lifestyle products, toys, and more to consumers, it also interrogates the changes in media circulation driven by the collision of digital platforms with existing retail institutions. By grappling with the contexts in which we buy media, Point of Sale uncovers the underlying tensions that define the contemporary culture industries.

A practical, accessible and inspiring guide to using puppetry in theatre - the perfect entry point for anyone looking to use puppets in their productions, to explore what puppets can do, or to develop their puppetry skills. Written by an experienced theatre and puppetry director, Puppetry: How to Do It focuses on the performer and the craft of bringing any puppet to life. No puppet-making is required to use this book: starting just with simple objects, it lays out the skills required to unlock a puppet's limitless potential for expression and connection with an audience. Inside you'll discover fifty practical, easy-to-follow exercises - for use in a group or on your own - to develop elements of the craft, build confidence and help you improve your puppetry through play and improvisation. Also included are sections on different types of puppet, thinking about how the puppeteer is presented on stage and how to direct and devise puppet performances Ideal for actors and performers, for directors and designers, and for teachers and students of all ages and levels of experience, this book will demystify the art of puppetry, and help you become more confident and creative with all kinds of puppets and objects on stage. 'Based on the workshops he developed for training performers for War Horse, Mervyn has written this book to share his craft... the exercises are clear and easily reproducible for many different types of participants... a wonderful gift to the field of puppetry. I hope that it will be used widely to introduce adventurous spirits to this dynamic art form.' Cheryl Henson, President of the Jim Henson Foundation, from her Foreword.

Furthermore, through their daring inventions, Russian artists of the first thirty years of the 20th century transformed, profoundly and permanently, our perception of stage design - and hence of the theatre. They belonged to an extraordinarily creative generation of impresarios, dancers, actors, patrons, and critics who inspired or at least made a major contribution to the international renaissance of the art of the stage, and in particular areas, e.g. the teaching and performing of ballet, their influence is still present today. However, in spite of the many published commentaries on the Russian theatre, in spite of the autobiographies and biographies of its leading representatives, and in spite of the scholarly appreciations of its various components (ballet, drama, opera), the subject of stage design in Russia has yet to be explored in all its manifestations. Each work presented here is documented as fully as possible, and includes curatorial data, provenance index, and references to relevant published sources, exhibitions; and variants such as copies and preliminary drawings. The catalogue raisonne addresses the issues of attribution, identification of stage production, and date of execution and adduces evidence in the form of bibliographical, archival, and photographic data, expert opinion, and circumstantial evidence in order to support assumptions and conclusions. 'The Encyclopedia of Russian Stage Design 1880-1930' has been published to accompany 'Masterpieces of Russian Stage Design 1880-1930'.

Shakespeare's Tragedies Reviewed explores how the recognition of spectator interests by the playwright has determined the detailed character of Shakespeare tragedies. Utilizing Shakespeare's European models and contemporaries, including Cinthio and Lope de Vega, and following forms such as Aristotle's second, more popular style of tragedy (a double ending of punishment for the evil and honor for the good), Hugh Macrae Richmond elicits radical revision of traditional interpretations of the scripts. The analysis includes a major shift in emphasis from conventionally tragic concerns to a more varied blend of tones, characterizations, and situations, designed to hold spectator interest rather than to meet neoclassical standards of coherence, focus, and progression. This reinterpretation also bears on modern staging and directorial emphasis, challenging the relevance of traditional norms of tragedy to production of Renaissance drama. The stress shifts to plays' counter-movements to tragic tones, and to scripts' contrasting positive factors to common downbeat interpretations - such as the role of humor in King Lear and the significance of residual leadership in the tragedies as seen in the roles of Malcolm, Edgar, Cassio, and Octavius, as well as the broader progressions in such continuities as those within Shakespeare's Roman world from Julius Caesar and Antony and Cleopatra to Cymbeline. It becomes apparent that the authority of the spectator in such Shakespearean titles as What You Will and As You Like It may bear meaningfully on interpretation of more plays than just the comedies.

Widely referred to as the "bible of stage makeup," the timely revision of this classic text addresses principles and techniques in the use of makeup for the contemporary performer. This extensive exploration of the application and use of stage makeup and makeup for a variety of performance venues covers all aspects in detail and contains over 1000 photographs, drawings, and diagrams demonstrating step-by-step procedures. Thoroughly updated and revised, this classic text remains accurate and comprehensive, providing information from which all readers - whether students new to the field or seasoned, professional makeup artists - will benefit. New to this edition: Updated full-color photography throughout Expanded information on makeup design and application 48 new step-by-step instructions in color Expanded chapter on modeling with highlights and shadows New chapter on cross-gender makeup New instruction on making dentures, noses, and face casting New instructions for creating zombies, animals, aging effects, and trauma Expanded information on makeup for television and film Up-to-date information on Special Effects makeup Up-to-date information on prosthetic makeup Updated chapters on facial hair and wigs Updated resources for products, advanced training, and health and safety

Historical Wig Styling: Victorian to the Present, 2nd edition, is a guide to creating beautiful, historically accurate hairstyles for theatrical productions and events. This volume covers hairstyles from the Victorian era through the contemporary styles of today. Chapters begin with an overview of historic figures and styles that influenced the look of each period, followed by step-by-step instructions and photographs showing the finished look from every angle. The book also explores the necessary supplies and styling products needed to create the perfect coif, tips for proper wig handling, a brief history of the makeup for each historical period, and basic styling techniques useful when working with wigs or real hair. New hairstyles featured in this edition include: - Civil War era women - Late Victorian African-American men - 1910s' Full width style women - 1920s' glossy waves - 1940s' Victory rolls - 1950s' Poodle updos - 1960s' flips With over 1,000 full-color images and detailed instructions on how to create iconic hairstyles and makeup, Historical Wig Styling: Victorian to the Present, 2nd edition, is an excellent resource for professional costume designers and wig makers, as well as for students of Costume Design and Wig Making and Styling courses.

The Visual Life of Romantic Theater examines the dynamism and vibrancy of stage spectacle and its impact in an era of momentous social upheaval and aesthetic change. Situating theatrical production as key to understanding visuality ca. 1780-1830, this book places the stage front and center in Romantic scholarship—a field in a period long defined by its focus on poetic poetry—by reenvisioning traditional approaches to artistic and social production. How, it asks, did dramaturgy and stagecraft influence aesthetic and sociopolitical concerns? How does a focus on visuality expand our understanding of the historical experience of theatergoing? In what ways did stage performance converge with visual culture beyond the theater? How did extra-theatrical genres engage with theatrical sight and spectacle? Finally, how does a focus on dramatic vision change the way we conceive of Romanticism itself? The volume’s essays by emerging and established scholars provide exciting and suggestive answers to these questions, along with a capacious conception of Romantic theater as a locus of visual culture that reached well beyond playhouse walls.

Technical Design Solutions for Theatre is a collection of single-focus articles detailing technical production solutions that have appeared in The Technical Brief Collection, a publication of the Yale School of Drama's Technical Design and Production Department. The primary objective of the publication was to share creative solutions to technical problems so that fellow theatre technicians can avoid having to reinvent the wheel with each new challenge. The range of topics includes scenery, props, painting, projections, sound, and costumes. Each article describes an approach, device, or technique that has been tested onstage or in a shop. Great reference of tips and solutions to persistent technical challenges in theatre production Solutions provided by contributors from over twenty different producing organizations Ten years of The Technical Brief Collection articles bound in each of three volumes A comprehensive index to all three volumes included in Volume III

Whether you're in a professional or a community theatre, part of a historical re-enactment, or teaching costume construction, a well-made hat provides a much-needed finishing touch to a costume. Period Reproduction Buckram Hats: The Costumer's Guidebook is your one-stop resource for learning how to recreate historically accurate buckram hats. Each chapter is devoted to the construction of a particular hat, beginning with a historical image and followed by an list of the exact amount of fabric, tools, and materials needed and the estimated time to complete the construction. Every chapter contains a brief historical background on each hat, a pattern, step-by-step instructions, process photographs, and ideas for altering the pattern to fit your unique production. This book not only provides instruction for the exacting reproduction of historic hats, but it also guides and encourages you to alter patterns and techniques to create your own designs. The final chapters outline general millinery principles that can be applied to almost any hat, allowing you to customize your project.

Beijing Opera Costumes: The Visual Communication of Character and Culture illuminates the links between theatrical attire and social customs and aesthetics of China, covering both the theory and practice of stage dress. Distinguishing attributes include an introduction to the performance style, the delineation of the costume conventions, an analysis of the costumes through their historical precedents and theatrical modifications, and the use of garment shape, color, and embroidery for symbolic effect. Practical information covers dressing the performers and a costume plot, the design and creation of the make-up and hairstyles, and pattern drafts of the major garments. Photographs from live performances, as well as details of embroidery, and close-up photographs of the headdresses thoroughly portray the stunning beauty of this incomparable performance style. Presenting the brilliant colors of the elaborately embroidered silk costumes together with the intricate makeup and glittering headdresses, this volume embodies the elegance of the Beijing opera.

Film -- Biography

Even twenty years after his death and nearly fifty or more years after his creative peak, Alfred Hitchcock (1899-1980) is still arguably the most instantly recognizable film director in name, appearance, vision, and voice. Long ago, through a combination of timing, talent, genius, energy, and publicity, he made the key transition from proper noun to adjective that confirms celebrity and true stature. It is a rare filmwatcher indeed who cannot define "Hitchcockian."

As the director of such films as "Psycho," "North by Northwest," "Spellbound," "Vertigo," "Rear Window," "To Catch a Thief," "Notorious," and "The Birds," Hitchcock has become synonymous with both stylish, sophisticated suspense and mordant black comedy. He was one of the most interviewed directors in the history of film. Among the hundreds of interviews he gave, those in this collection catch Hitchcock at key moments of transition in his long career--as he moved from silent to sound pictures, from England to America, from thrillers to complex romances, and from director to producer-director.

These conversations dramatize his shifting attitudes on a variety of cinematic matters that engaged and challenged him, including the role of stars in a movie, the importance of story, the use of sound and color, his relationship to the medium of television, and the attractions and perils of realism.

His engaging wit and intelligence are on display here, as are his sophistication, serious contemplation, and playful manipulation of the interviewer.

Sidney Gottlieb, a professor of English at Sacred Heart University in Fairfield, Connecticut, is the editor of "Hitchcock on Hitchcock: Selected Writings and Interviews."

The Fake Food Cookbook: Props You Can't Eat for Theatre, Film, and TV contains step by step instructions on how to create the most realistic prop food for a theatrical production. From appetizers such as oysters on a half shell and chicken wings, entrees such as lobster and honey-glazed ham, to desserts, breakfasts, and even beverages, every meal is covered in this how-to guide. Full color images of each step and finished products illustrate each recipe, along with suggestions for keeping the budget for each project low. Safety Data Sheets and links to informative videos are hosted on a companion website.

Here is a practical, accessible introduction to one of the most complex jobs in theatre. Linda Apperson clearly and concisely leads the reader through the procedures and responsibilities of stage management, from auditions to closing night. What is "blocking"? How do you "call" a show? Who is the technical director, and why do you want him or her as your best friend? How can you tame (or endure) a prima donna? When is the best time to offer advice to the actors? Ms. Apperson answers these and countless other questions in a resource book that will become a constant companion for both the novice and the experienced theatre person. Especially useful is her attention to personal relationships among actors and crew. She insists that working to create an atmosphere of respect backstage will improve the show onstage, and she shows precisely how this is done, based upon her years of experience in managing the stage. Stage Managing and Theatre Etiquette includes samples of prompt scripts and other essential stage manager's tools.

The Routledge Companion to Scenography is the largest and most comprehensive collection of original essays to survey the historical, conceptual, critical and theoretical aspects of this increasingly important aspect of theatre and performance studies. Editor and leading scholar Arnold Aronson brings together a uniquely valuable anthology of texts especially commissioned from across the discipline of theatre and performance studies. Establishing a stable terminology for a deeply contested term for the first time, this volume looks at scenography as the totality of all the visual, spatial and sensory aspects of performance. Tracing a line from Aristotle's Poetics down to Brecht and Artaud and into contemporary immersive theatre and digital media, The Routledge Companion to Scenography is a vital addition to every theatre library.

Lighting Dance pioneers the discussion of the ability of lighting design to foreground shadow in dance performances. Through a series of experiments integrating light, shadow, and improvised dance movement, it highlights and analyses what it advances as an innovative expression of shadow in dance as an alternative to more conventional approaches to lighting design. Different art forms, such as painting, film, and dance pieces from Loie Fuller, the Russell Maliphant Dance Company, Elevenplay, Pilobolus, and the Tao Dance Theater served to inspire and contextualise the study. From lighting to psychology, from reviews to academic books, shadows are examined as a symbolic and manipulative entity. The book also presents the dance solo Sombreiro, which was created to echo the experiments with light, shadow, and movement aligned to an interpretation of cultural shadow (Jung 1954, in Samuels, Shorter, and Plaut 1986; Casement 2006; Ramos 2004; Stein 2004; and others). The historical development of lighting within dance practices is also outlined, providing a valuable resource for lighting designers, dance practitioners, and theatre goers interested in the visuality of dance performances.

Although nineteenth-century legislation had tried to ensure a precise separation between genre and institution for Parisian music in the theatre, it had inadvertently laid out a field on which the politics of genre could be played out as agents and actors of all types deployed various forms of artistic power. During the Second Empire, from 1854 until 1870, the state took over day-to-day control of the Opera in ways that were without precedent. Every element of the Opera's activity was subjugated to the exigency of Empire; the selection or artists, works and more general questions of artistic policy were handed over to politicians. The Opera effectively became a branch of government. The result was a stagnation of the Opera's repertory, and beneficiaries were the composers of larger-scale works for competing organisations: the Opera Comique and the Theatre Lyrique.

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address 'categories of seeing': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton's A Game at Chess, to show how costumes signified across the categories of seeing to establish a play's distinctive semiotics and visual aesthetic.

The Craft and Art of Scenic Design: Strategies, Concepts, and Resources explores how to design stage scenery from a practical and conceptual perspective. Discussion of conceptualizing the design through script analysis and research is followed by a comprehensive overview of execution: collaboration with directors and other designers, working with spaces, developing an effective design process, and the aesthetics of stage design. This book features case studies, key words, tip boxes, definitions, and chapter exercises. Additionally, it provides advice on portfolio and career development, contracts, and working with a union. This book was written for university-level Scenic Design courses.