Directing for Community Theatre is a primer for the amateur director working in community theatre. With an emphasis on preparedness, this book gives the amateur director the tools and techniques needed to effectively work on a community theatre production. Covering play analysis, blocking, staging, communication, and working with actors, designers, and other theatre personnel, this how-to book is designed to have the community theatre director up and running quickly, with full knowledge of how to direct a show. The book also contains sample forms and guidelines, including acting analysis, character analysis, rehearsal schedule, audition form, prop list, and blocking pans. Directing for Community Theatre is written for the community theatre participant who is interested, or already cast, in the role of the director.

The Emerald Archive is a novel in verse about a Jewish-Iranian emigre family living in Manhattan. The book is a theme and variations. It opens with a three-page prose "theme" that summarizes the plot of the entire book. The remaining pages are a series of poems that function as a collection of variations on the theme. The story unfolds through the poems. The final page, in prose, ties together the themes of the book. The major characters of The Emerald Archive include a high-earning dental surgeon and his depressive wife, a gay librarian, an accounting student, a stripper, a concert pianist and a Park Avenue psychoanalyst. There are numerous minor characters.

The use of visual art is relatively common in scientific literature, and academic publications sometimes reproduce famous paintings to attract potential readers. When used in this manner, artwork is just a marginal adornment. In The Painted Mind, however, each chapter is inspired by an artistic masterpiece. Throughout the book, Dr. Troisi highlights the artistic significance of each painting and introduces the reader to their creators' biographical stories. The Painted Mind has a scientific focus on the evolutionary analysis of human mind and behavior. Its discussion of emotions and behaviors integrates a variety of perspectives that can ultimately be reduced to the evolutionary distinction between proximate mechanisms and adaptive functions. Although Dr. Troisi is primarily a clinical psychiatrist, his eclectic scientific background-ranging from primate ethology to neuroscience, from behavioral biology to molecular genetics, and from Darwinian psychiatry to evolutionary psychology-gives his writing a unique perspective. In addition to integrating data and findings from each of these disciplines, the book's presentation of evolutionary theories of the human mind is also intermixed with lively discussion of individual cases. Some are clinical cases from Dr. Troisi's own psychiatric practice; others reference the psychological profiles of historical figures and fictional characters.

"A survivor of the 1916 torpedo attack on a Cross channel ferry, Sussex, recognised Spanish composer Granados in a lifeboat, his wife in the water. Granados dived in to save her and perished. Subsequently, the Sussex incident became a pawn in the propaganda battle of WW1. Extensive research into family involvement in WW1 put Walton in possession of historical detail not generally known. He assisted American novelist John Milton to obtain background material for 'The Fallen Nightingale'. Walton subsequently wrote his own account of the composer's unhappy final journey.This is the truth behind the story. David Walton graduated in Modern Languages at University College, London, and undertook further studies at the University of Florence and at Trinity College of Music. He worked for some years as a Civil Servant, notably at the port of Folkestone, where he became very familiar with cross-Channel ferries between England and France. Book includes translations in Spanish and Catalan."

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

This book investigates creative responses to the Nazi period in the work of three artists, Felix Nussbaum, Charlotte Salomon and Arnold Daghani, focusing on their use of pictorial narrative. It analyses their contrasting aesthetic strategies and their innovative forms of artistic production. In contrast with the autonomous, modernist art object, their works were explicitly linked with the historical conditions under which they were produced - the pressures of persecution and exile. Conditions in the slave labour camps and ghettos in the Ukraine, which shaped the paintings and drawings of Daghani, are contrasted with the experiences of exile in Belgium and France, which inspired Nussbaum and Salomon. In defiance of conventional artistic practice, they produced word-image combinations that can be read as narrative sequences, incorporating specific references to political events. While there has been a wealth of literary, philosophical and historical studies relating to the Holocaust, aesthetic debate has developed less extensively. This is the first comparative study of three artists who are only belatedly achieving recognition and the recent reception of their work is evaluated. By identifying the aesthetic principles and narrative strategies underlying their work, the book reassesses their achievement in creating new forms of modernism with an unmistakable political momentum. This book was published as a special issue of Word & Image.

This anthology reproduces six plays based on stories of King Arthur from a variety of periods. Originally published in 1991, it offers a comprehensive discussion of Arthurian Drama in introduction and also provides an appendix listing printed scripts in English that address Arthurian legend.

Best known for his documentaries such as Drifters, North Sea, and Housing Problems, John Grierson was the most important figure in the British documentary film movement and one of the most influential of British film theorists. This major assessment of Grierson and the documentary film movement examines the intellectual and aesthetic influences on his work, focusing on the material he produced in the inter-war years and comparing the idealistic strain of Grierson's social commentary with other social reformists such as the Next Five Years Group and writers like Orwell and Priestley. Underlining the link between film and reform, the book clarifies the meaning and significance of Grierson's ideas and the historical role of the documentary film movement. Originally published in 1990.

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Things seem to be happening very quickly. Some things were secrets. And I knew these secrets would never be appropriate, for any conversation, in any lifetime. However, it was my reality. Was anything good going to come out of this? There was too much to tell, and no one would understand. I didn't even understand-so how could anyone else? It seemed improbable that I would get what was inside, out of me. It wasn't how I was raised to discuss this negativity . . . to "air out one's dirty laundry," it just wasn't accepted. Was it all my fault? These vulgar and unprecedented events that were beginning to destroy me. I decided to block it out, keep it inside and keep moving with my life. Trying, waiting for the day I would get past it and walk through the door of the other side. The other side of all this madness. In the meantime, I had to do something with my emotions, my secrets and my feelings. They were locked up, tighter than tight. I began to write in journals. Entries that were poems and anecdotal stories of what was happening in my life. I had to become my own inspiration. I had to somehow get what was inside...out. A young girl's life filled with devastation, tragedy and self-destruction was all on its way. It was already here Still maintaining a happy, ambitious life but harboring guilt, anger and resentment. And dealing with the world and its own evolving. This is the story of over ten years of writings, from the ages of 14-26 years. Someone leading themselves out of the dark and into the light. This was my way and this is my story. My story . . . in poetry.

Discrete inquiries into 15 forms of the Arthurian legends produced over the last century explore how they have altered the tradition. They consider works from the US and Europe, and those aimed at popular and elite audiences. The overall conclusion is that the "Arthurian revival" is an ongoing event, and has become multivalent, multinational, and multimedia. Originally published in 1992.

This resource guide will help readers locate over 800 first-person accounts, fiction, poetry, art interpretations, and music by Holocaust victims and survivors, as well as videos relating the testimony and experiences of Holocaust survivors. In addition to the few well-known writers, artists, and musicians whose work so eloquently captures their experience during the Holocaust, this guide will introduce the reader to the lives and work of more than 250 lesser known or unrecognized writers, artists, and musicians from many countries who documented their experience of persecution at the hands of the Nazis. This guide will help students gain firsthand knowledge of what it was like to experience the Holocaust and how ordinary people coped and created art and meaning from the ashes of their lives.

The entry on each writer, artist, and musician features a biographical sketch and list of his or her works, with full bibliographic data. Entries on literature and videos are annotated and include recommendations for age-appropriateness. The work is divided into five parts: writers of memoirs, diaries and fiction; poets; artists; composers and musicians; and videos that feature testimony by survivors. Each part features an introductory overview of the artists and art created in that genre out of Holocaust experience. Title, artist/writer, and nationality indexes will help the reader select materials, and an index organized by age-appropriate levels will help teachers and librarians to select literature and videos for students.

ERIC GILL: NUPTIALS OF GOD by ANTHONY HOYLAND

ERIC GILL (1882-1940) is one of the major erotic artists of the 20th century, and one of the key British modern artists. Gill is still a controversial figure in art. His personal life was notorious for its sexual relationships. Wyndham Lewis called his work 'excellent and ribald', while influential critic Roger Fry, one of Gill's supporters, said Gill's sculpture was 'the outcome of a desire to express something felt in the adventure of human life.'

For Eric Gill, eroticism was a vital part of life, and should be openly displayed in art. He moved from nudes to Madonnas easily and simply: sex and religion were part of the same mystery for him.

Eric Gill built eroticism into most of his depictions of people. 'Quite mad on sex', Gill wrote of Jacob Epstein, the sculptor, in his diary (December 9, 1913). The statement might equally apply to Gill. He thought of sex a lot, to put it mildly.

Eric Gill has become a familiar gure in British modern art and life. He certainly looked the part of the Bohemian artist with his little skull caps, imitation monk's habits, artist's smocks and his penchant for bare feet and sandals (an early hippy? Yep). In his Fabian Society, Arts and Crafts and socialist period, Gill was described (in Blackfriars, 1941) by John Middleton Murry, a key member of D.H. Lawrence's circle, as a 'silent gure in a shabby mackintosh' who rolled his own cigarettes. Gill the Monk. Saint Gill.

For Eric Gill, eroticism was a vital part of life, and should be openly displayed in art. He moved from nudes to Madonnas easily and simply. The problematic and erotic relation between life and art, between the human beloved and the art object, is vividly expressed in the way Eric Gill started working in sculpture.

By far the most common subject in Eric Gill's sculpture was religious (and Christian): the nudes, acrobats, contortionists and divine lovers may receive more attention in art criticism, but the religious and Catholic sculptures are more numerous: there are Depositions, St Sebastians, Annunciations, Cruci xions, Holy Faces, Mary Magdalenes, angels, cruci xes, memorials, headstones, altarpieces, many Madonna and Childs, and of course the Stations of the Cross series.

Fully illustrated, featuring many lesser-known works by Eric Gill, as well as the works of his contemporaries, and from the history of erotic art.

With bibliography and notes. 232 pages. ISBN 9781861713223.

www.crmoon.com

Originally published in 1921. Shadow entertainments are as old as the hills, but their popularity is undiminished and the hand shadow expert is a recognised and popular artist and entertainer. A practical guide for both adults and children. Contents include: The Light - The Projection Screen - General Arrangements - Advanced Pracrise - Animal Shadows - Bird Shadows - Character Studies - Figures With Accessories - A Shadow Pantomime.112 pages. Illustrated by 85 diagrams. Many of the earliest entertainment books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Home Farm Books are republishing many of these classic works in affordable, high quality, modern editions, using the original text and artwork.

Since they began collaborating in 1993. John Wood and Paul Harrison have accumulated a series of playful and beguiling video works which are distinguished as much by their droll sense of humour as their unerring economy of execution. Played out against a minimalist, monochrome backdrop, or within the sealed-off space of the monitor itself, each of the works involves the presence of one of the artists, either as the butt of an extended sight-gag or as the trigger for a spiralling, visually surprising conceit. This publication, which features an essay by Charles Esche, documents Wood and Harrison's work to date, including single-screen works and installations.

The legal terminology is portrayed in a simple and accessible way, making it ideal for beginner filmmakers with zero law knowledge Organized chronologically according to the life cycle of a film, but written in a way that allows the filmmaker to jump in and find a specific answer without having to read the book cover to cover first. A section featuring frequently asked questions help you zero in on particularly pressing issues, while appendices at the end form a portable law library to provide you with separate handy guides to intellectual property, contract, labor and employment law

During the 1920s and 1930s, black artists and writers achieved something totally unprecedented: they created a new image of African Americans that truly reflected their times as well as their history. In so doing, they set the artistic agenda of the Harlem Renaissance and gave form to some of its most compelling visions.

This innovative study examines the efforts of Harlem Renaissance artists and writers to create a hybrid expression of black identity that drew on their ancient past while participating in contemporary American culture. Caroline Goeser investigates a critical component of Harlem Renaissance print culture that until now has been largely overlooked, arguing that illustrations became the most timely and often most radical visual products of the movement.

This vibrant partnership between literary and visual talents-a trail blazed by artist Aaron Douglas and poet Langston Hughes-resulted in the image of the New Negro, one that remade the African American past in order to foster greater participation in modern American culture and commerce. Illustrations by Douglas, James Wells, Gwendolyn Bennett, and others appeared on covers of books about black American life and in journals such as Opportunity and The Crisis. Goeser considers the strategies that these artists developed to circumvent stereotypes and shows how their work was received within the movement and in mainstream America.

Connecting visual imagery with literary text and commercial enterprise, these illustrations participated in the modern economy in ways that painting and sculpture could not. Goeser reveals how Harlem Renaissance illustrators depicted the wide-ranging and sometimes conflicting ideas about black identity held within the community: African roots and Egyptian heritage, racial uplift and gay pride. She shows how some artists revisited the Judeo-Christian tradition by portraying a black Adam and Jesus, and examines the interdependent relationships between race and sexuality in the work of artists Richard Bruce Nugent and Charles Cullen, the former black, the latter white.

Goeser clearly shows that, contrary to common belief, the visual image of the New Negro was created by African Americans, for African Americans. Her work assigns a central role to black artists as cultural innovators intimately involved with the construction of identity and new expressive paradigms and is a new touchstone in understanding both the emergence of black identity and American culture between the world wars.