Dancing With Stanislavsky : A Concise Acting Technique for Dancers (Hardcover)

Preface by Evi Stamatiou

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Introduction

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Chapter 1:? Stanislavsky for Dancers

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Chapter 2:? Creating a Contemporary Ballet with Stanislavsky

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Chapter 3:? Rehearsing and performing with Stanislavsky

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Appendix:? Red/Blue’s Libretto

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Index

Vladimir Nemirovich-Danchenko and the Moscow Art Theatre (Paperback, 1)

Translator’s Preface

Chapter 1: The Long Beginning 1858?1886

Chapter 2: Everything is Nearby 1886?1896

Chapter 3: Opening 1896?1899

Chapter 4: In the Theatre from Ten to Seven 1899?1904

Chapter 5: First Farewells 1904?1905

Chapter 6: Returning to a New Place 1905?1906

Chapter 7: At Home 1906?1909

Chapter 8: Russian Tragedy 1908?1910

Chapter 9: Options for an Ending 1910?1914

Chapter 10: Fifth and Sixth Life 1914?1919

Chapter 11: Chapter from Another Book 1919?1943 (The Soviet Years)

Performing Corporate Bodies : Multinational Theatre in Global India (Paperback)

Acknowledgements

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Introduction

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Chapter 1: Dramatic Economies: Capitalism’s Theatrical Transformation

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Chapter 2: Theatre as “Designer Resistance:” The Humor Politics of the Body Corporate

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Chapter 3: Cultivating Peak Performers: Corporate Theatre in a VUCA World

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Chapter 4:? The Performance Ecology of Corporate India

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Chapter 5: Corporate Theatre: A Global Performance Paradigm

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Conclusion

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Index

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Contemporary Performance and Political Economy : Oikonomia as a New Ethico-Political Paradigm (Paperback)

Acknowledgements

Introduction: Oikonomia as a New Ethico-Political Paradigm

Chapter 1

Constructing Spaces of Decision, Affect, and Creative Possibility: Jerome Bel’s Economies and Encounters

Chapter 2

Failing Resistances and Neoliberal Subjects: Individual and Collective Experiments Towards Alternative Politico-Economic Models in Tino Sehgal’s These Associations

Chapter 3

The Animation of Contemporary Subjectivity: Imagining a World Beyond the Present with Tino Sehgal’s Ann Lee

Chapter 4

Capitalist and Ethical Critiques: Santiago Sierra’s Ghosts and Relentless Mirror

Chapter 5

The Oscillation of Contemporary Bodies Between Biopolitics and Necropolitics: Tania Bruguera’s Wrestling with Power Structures for the Creation of Alternative Futures

Chapter 6

Replacing Experiments, Re-Writing Fictions: Closing Thoughts

Bibliography

Index

Staging Muslims in Britain : Playwriting, Performance, and Representation (Paperback)

Acknowledgements
Preface

Introduction: For Whom the Bell Tolls?: Dangerization of Islam in the 21st Century Britain and the Birth of British Islamic Theatre

Chapter 1. Islamic Playwriting: Theories and Techniques of Production

Chapter 2. Performances of Muslimness: Theatre Venues of Islamic Representations

Chapter 3. Representing Self-Image: Islamic Subjectivities, Homogeneities and Heterogeneities

Chapter 4. Theatricalizing Femininities: Islamic Womanliness, Veiling and Demonization of Muslim Women

Chapter 5. Acts of Masculinities: Muslim Manhood, Youth Culture and Dissent

Chapter 6. Rising Voices Against Marginalization: Racialization, Muslim Anger and Radicalization

Conclusion: Muslims are coming!

References

Index

Teaching What You Want to Learn : A Guidebook for Emerging and Established Dance and Movement Teachers (Hardcover, 2 ed)

1. THE BACKSTORY 2.?NOTES TO SELF?3. UNDERPINNINGS? ??4. CORNERSTONES?5. WORDS MATTER???6. BODY WISDOM?7. TEACHING GUIDELNES AND STRATEGIES?8. BODY SPECIFICITYAND FUNCTUIONAL ANATOMY?9. ANATOMICAL IMAGERY?10. CONVERTING THEORY INTO ACTION?11.?FEEDBACK, ASSESSMENT AND SYLLABI?12. SUPPORTING DIVERSE LEARNERS,?13. TEACHING DANCE AND MOVEMENT THROUGH THE MULTIPLE INTELLIGENCEES. CONCLUSION

Teaching What You Want to Learn : A Guidebook for Emerging and Established Dance and Movement Teachers (Paperback, 2 ed)

1. THE BACKSTORY 2.?NOTES TO SELF?3. UNDERPINNINGS? ??4. CORNERSTONES?5. WORDS MATTER???6. BODY WISDOM?7. TEACHING GUIDELNES AND STRATEGIES?8. BODY SPECIFICITYAND FUNCTUIONAL ANATOMY?9. ANATOMICAL IMAGERY?10. CONVERTING THEORY INTO ACTION?11.?FEEDBACK, ASSESSMENT AND SYLLABI?12. SUPPORTING DIVERSE LEARNERS,?13. TEACHING DANCE AND MOVEMENT THROUGH THE MULTIPLE INTELLIGENCEES. CONCLUSION

Mastering The Shakespeare Audition : An Actor's Guide to Performance Success (Hardcover, 2 ed)

Mastering The Shakespeare Audition : An Actor's Guide to Performance Success (Paperback, 2 ed)

My Pressures: The Bizarrely True Story of Andy Serkis (Hardcover)

Theatrical Broadsword to Historical Longsword : Adapting Historical European Martial Arts to Contemporary Stage Combat (Hardcover)

Disclaimer. Acknowledgements.?Part 1: The Why.?1. Introduction or Why this Book?. 2. Stage Combat, HEMA, and How We Got Here. 3. Theoretical Considerations.?Part 2: The Lessons.?4. Preparing the Body: Stance, Conditioning, and Footwork.?5. Lesson 1: The Complete Stage Combat Illusion. 6. Lesson 2 Cutting to the 4 openings: One drill is all you need! Okay maybe two….7. Lesson 3: The Leger and the Meisterhau.?8. Lesson 4 The Bind and its Actions: Your sword is stuck to my sword!.?9. Lesson 5: Time to Rise and Wind.?10. Lesson 6: Failing Up: Feints in Stage Combat and the German Longsword System.?11. Lesson 7 Going Deeper on the Krumphau.?12. Lesson 8 Halbschwert: Half the Sword, Twice the Fun.?13. Lesson 9: Ringen am Schwert.?14. Lesson 10: We All Knew this Would End in Violence: Kills, Wounds, and Disarms.?Part 3: Choreography and Performance: Applying the work to stage.?15. Creating Historical Choreography.?16. Yeah, but how do you feel about it? Acting The Fight.?17. Adapting or There is Always More.?Appendix 1: Sources for further study.?Appendix 2: Photography and Model Acknowledgement. Works Cited. Index.

Theatrical Broadsword to Historical Longsword : Adapting Historical European Martial Arts to Contemporary Stage Combat (Paperback)

Disclaimer. Acknowledgements.?Part 1: The Why.?1. Introduction or Why this Book?. 2. Stage Combat, HEMA, and How We Got Here. 3. Theoretical Considerations.?Part 2: The Lessons.?4. Preparing the Body: Stance, Conditioning, and Footwork.?5. Lesson 1: The Complete Stage Combat Illusion. 6. Lesson 2 Cutting to the 4 openings: One drill is all you need! Okay maybe two….7. Lesson 3: The Leger and the Meisterhau.?8. Lesson 4 The Bind and its Actions: Your sword is stuck to my sword!.?9. Lesson 5: Time to Rise and Wind.?10. Lesson 6: Failing Up: Feints in Stage Combat and the German Longsword System.?11. Lesson 7 Going Deeper on the Krumphau.?12. Lesson 8 Halbschwert: Half the Sword, Twice the Fun.?13. Lesson 9: Ringen am Schwert.?14. Lesson 10: We All Knew this Would End in Violence: Kills, Wounds, and Disarms.?Part 3: Choreography and Performance: Applying the work to stage.?15. Creating Historical Choreography.?16. Yeah, but how do you feel about it? Acting The Fight.?17. Adapting or There is Always More.?Appendix 1: Sources for further study.?Appendix 2: Photography and Model Acknowledgement. Works Cited. Index.

Acting for the Camera : A Teacher's Guide (Hardcover)

ACKNOWLEDGMENTS. INTRODUCTION. PART ONE: EQUIPMENT. 1. The Camera. 2. Lights and Sound. 3. Television Monitor, Set, and Props. 4. Editing: The Greatest Teacher. PART TWO: ?FILMMAKING AND CREW POSITIONS. 5. Framing the Character. 6. ?Cinematic Language ? The Shots. 7. Standard Coverage ? Get What You Need to Edit the Scene. 8. Know the Rules. 9. Lighting and Sound ? The Basics. 10. Crew Positions ? Everyone is a Storyteller. PART THREE: SHOOTING SCENES. 11. Physical Continuity and Overlapping Dialogue. 12. ?Shooting Two-Character Dialogue Scenes. 13. ?Filming Tips and Tricks. 14. Adding Coverage, Shot Lists, and Shooting in Cars. PART FOUR: COURSE CURRICULUM. 15. ?Acting for the Camera Technique. 16. ?Get on Camera!. 17. The 10 Technical Keys to Acting for the Camera. 18. Character Beats, Subtext, and Hitting the Mark. 19. Physical Continuity Exercise. 20. Shooting the Physical Continuity Exercise. 21. Welcome to Post-Production!. 22. Monologues ? One is the Loneliest Number. 23. Monologue Shoot. 24. ?The Final Scenes. 25. Final Scene Shoots. 26. The Final Post. 27. The Premiere. Glossary of Film Terms. Citations. Index.

Acting for the Camera : A Teacher's Guide (Paperback)

ACKNOWLEDGMENTS. INTRODUCTION. PART ONE: EQUIPMENT. 1. The Camera. 2. Lights and Sound. 3. Television Monitor, Set, and Props. 4. Editing: The Greatest Teacher. PART TWO: ?FILMMAKING AND CREW POSITIONS. 5. Framing the Character. 6. ?Cinematic Language ? The Shots. 7. Standard Coverage ? Get What You Need to Edit the Scene. 8. Know the Rules. 9. Lighting and Sound ? The Basics. 10. Crew Positions ? Everyone is a Storyteller. PART THREE: SHOOTING SCENES. 11. Physical Continuity and Overlapping Dialogue. 12. ?Shooting Two-Character Dialogue Scenes. 13. ?Filming Tips and Tricks. 14. Adding Coverage, Shot Lists, and Shooting in Cars. PART FOUR: COURSE CURRICULUM. 15. ?Acting for the Camera Technique. 16. ?Get on Camera!. 17. The 10 Technical Keys to Acting for the Camera. 18. Character Beats, Subtext, and Hitting the Mark. 19. Physical Continuity Exercise. 20. Shooting the Physical Continuity Exercise. 21. Welcome to Post-Production!. 22. Monologues ? One is the Loneliest Number. 23. Monologue Shoot. 24. ?The Final Scenes. 25. Final Scene Shoots. 26. The Final Post. 27. The Premiere. Glossary of Film Terms. Citations. Index.

Ten Transformative Drama Games : A Manifesto for Creativity and Connection (Hardcover)

Introduction? 1.?Why Circles Matter - Featuring Game One - ‘Perfect Circle’? 2.?I See You - Featuring Game Two - ‘Look Up Look Down’??3.?Being Here Now - Featuring Game Three - ‘Counting Circle’? 4.?The Campfire - Featuring Game Four - ‘Circle Stories’? 5.?Laughter and it’s Uses - Featuring Game Five - ‘EastEnders Zip Zap Boing’? 6.The First Thing that Comes into Your Head - Featuring Game Six - ‘Busy Bee’? 7.?We All Have a Story - Featuring Game Seven - ‘Name Stories’? 8.?The Uses of Silence - Featuring Game Eight - ‘What’s in the Box?’? 9.?Brains - Featuring Game Nine - ‘Strategic Chair’? 10.?A Round of Applause - Featuring Game Ten - ‘Circle Clap’? 11. Afterword: On Facilitation

Ten Transformative Drama Games : A Manifesto for Creativity and Connection (Paperback)

Introduction? 1.?Why Circles Matter - Featuring Game One - ‘Perfect Circle’? 2.?I See You - Featuring Game Two - ‘Look Up Look Down’??3.?Being Here Now - Featuring Game Three - ‘Counting Circle’? 4.?The Campfire - Featuring Game Four - ‘Circle Stories’? 5.?Laughter and it’s Uses - Featuring Game Five - ‘EastEnders Zip Zap Boing’? 6.The First Thing that Comes into Your Head - Featuring Game Six - ‘Busy Bee’? 7.?We All Have a Story - Featuring Game Seven - ‘Name Stories’? 8.?The Uses of Silence - Featuring Game Eight - ‘What’s in the Box?’? 9.?Brains - Featuring Game Nine - ‘Strategic Chair’? 10.?A Round of Applause - Featuring Game Ten - ‘Circle Clap’? 11. Afterword: On Facilitation

Beckett on Film : The Actors and Directors’ Cut (Hardcover)

Acknowledgments

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List of Illustrations

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Chapter 1: Introducing the Beckett on Film (2001) Project and Beyond

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PART I: Acting Beckett on Film

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Chapter 2: Introduction to PART I

Chapter 3: Niall Buggy acts That Time

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Chapter 4: Stephen Brennan acts A Piece of Monologue and Waiting for Godot

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Chapter 5: Rebecca Pidgeon acts Catastrophe

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Chapter 6: Gary Lewis acts What Where

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Conclusion to PART I: Acting Beckett on Film.

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PART II: The Directors’ Cut: The Making of Beckett on Film (2001)

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Chapter 7: Introduction to PART II

Chapter 8: Neil Jordan directs Not I

Chapter 9: Charles Garrad directs That Time.

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Chapter 10: Robin Lefevre directs A Piece of Monologue.

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Chapter 11: Charles Sturridge directs Ohio Impromptu.

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Chapter 12: Concluding thoughts with Walter Asmus the Director of Footfalls and Assistant Director to Samuel Beckett.

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Conclusion to PART II

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Chapter 13: Last Reflections on the Beckett on Film (2001) project by the Producer Alan Moloney

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Chapter 14: Final Thoughts and conclusion to the Beckett on Film (2001) project.

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Further Suggested Reading

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Index

Irish Shakespeares : Gender, Sexuality, and Performance in the Twenty-First Century (Hardcover)

Acknowledgements

Illustrations

A note on the text

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Chapter 1. ?Introduction

Chapter 2. Unmanly Grief

Chapter 3. Embodied Histories

Chapter 4. Numbered in the Song

Chapter 5. The Aesthetics of Queer Irish Shakespeares

Chapter 6. Epilogue

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Bibliography

Index

Teaching Racial Justice Theatre and Performance : The One Love Method (Hardcover)

1. Introduction to the Politics of Love ?2. The One Love Method: Racial Justice Theatre? 3. Letter to Teachers: Where to Begin?? 4. West African Indigenous Theater? 5. Building Empathy in Racial Justice Theatre? 6. Confirming Environments in Theatre ?7. Healing & Health: One Love Grounding Practices? 8. Consent-Forward Practices ?9. Interracial Scenes and Racial Justice Theatre? 10. Do’s and Don’ts of Racial Justice Theatre? 11. Build a Future of Justice ?12. Glossary

Teaching Racial Justice Theatre and Performance : The One Love Method (Paperback)

1. Introduction to the Politics of Love ?2. The One Love Method: Racial Justice Theatre? 3. Letter to Teachers: Where to Begin?? 4. West African Indigenous Theater? 5. Building Empathy in Racial Justice Theatre? 6. Confirming Environments in Theatre ?7. Healing & Health: One Love Grounding Practices? 8. Consent-Forward Practices ?9. Interracial Scenes and Racial Justice Theatre? 10. Do’s and Don’ts of Racial Justice Theatre? 11. Build a Future of Justice ?12. Glossary

Authentic Voice and Speech : A Non-Prescriptive, Student-Centered Approach (Paperback)

Foreword

Preface

Acknowledgements

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Introduction

Chapter 1. Breath and Sound

Chapter 2. Stamina and Flexibility

Chapter 3. Knowing How You Speak

Chapter 4. Scavenger Hunt

Chapter 5. The Shapes of Sounds

Chapter 6. “R”

Chapter 7. The One Vowel Monologue

Chapter 8. The Remembered Voice

Afterword

Appendix

Authentic Voice and Speech : A Non Prescriptive, Student Centered Approach (Hardcover)

Foreword

Preface

Acknowledgements

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Introduction

Chapter 1. Breath and Sound

Chapter 2. Stamina and Flexibility

Chapter 3. Knowing How You Speak

Chapter 4. Scavenger Hunt

Chapter 5. The Shapes of Sounds

Chapter 6. “R”

Chapter 7. The One Vowel Monologue

Chapter 8. The Remembered Voice

Afterword

Appendix

Mental Health Coordination for Stage and Screen : Working at the Intersection of Mental Health and Creative Storytelling (Hardcover)

1. Understanding Trauma in the Creative Process ?2. The Science of Safety and Connection ?3. Consent as a Pillar of Our Work ?4. Mental Health Coordination ? the What, Why, and How ?5. Ethics, Liability, and Scope of Work ?6. Self-Care for Artistic Professionals ?7. Collaboration Across Departments ?8. Collaboration Across Divisions ? a Multi-Field Approach ?9. Changing a Culture in a Creative Workspace ?10. Navigating Conflict and Challenges ?11. Healing Forward Practices for the Creative Process ?12. Practical Tools for Mental Health Coordination ?13. Portrayal of Mental Illness ?14. Specific Portrayal Strategies ?15. Working With Marginalized and Oppressed Populations ?16. Navigating the Challenges of Mental Health Coordination

Mental Health Coordination for Stage and Screen : Working at the Intersection of Mental Health and Creative Storytelling (Paperback)

1. Understanding Trauma in the Creative Process ?2. The Science of Safety and Connection ?3. Consent as a Pillar of Our Work ?4. Mental Health Coordination ? the What, Why, and How ?5. Ethics, Liability, and Scope of Work ?6. Self-Care for Artistic Professionals ?7. Collaboration Across Departments ?8. Collaboration Across Divisions ? a Multi-Field Approach ?9. Changing a Culture in a Creative Workspace ?10. Navigating Conflict and Challenges ?11. Healing Forward Practices for the Creative Process ?12. Practical Tools for Mental Health Coordination ?13. Portrayal of Mental Illness ?14. Specific Portrayal Strategies ?15. Working With Marginalized and Oppressed Populations ?16. Navigating the Challenges of Mental Health Coordination

Performance and Real Relationships : Family, Kinship and Love in Contemporary Theatre (Hardcover)