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Victor, a New York cop nearing retirement, moves among furniture in the disused attic of a house marked for demolition. Cabinets, desks, a damaged harp, an overstuffed armchair - the relics of a lost life of affluence he's finally come to sell. But when his brother Walter, who he hasn't spoken to in years, arrives, the talk stops being just about whether Victor's been offered a fair price for the furniture, and turns to the price that one and not the other of them paid when their father lost both his fortune and the will to go on ...
THE STORY: As Howard Taubman outlines the play: At the outset Quentin emerges, moves forward and seats himself on the edge of the stage and begins to talk, like a man confiding in a friend. In the background are key figures in his life, and they m
The ideal theater appreciation text for courses focusing on theater elements, "The Theater Experience" encourages students to be active theater-goers as they learn about the fundamentals of a production. By addressing the importance of the audience, Wilson brings the art of performance to life for students who may have little experience with the medium. .
Script Analysis specifically for Actors, Directors, and Designers; the only book on this subject that covers the growing area of unconventional plays.
We still lack practical answers to one of the most basic questions in empirical research: How should researchers interpret meanings? The contributors take seriously the goals of both post-modernist and positivist researchers, as they offer detailed guidance on how to apply specific tools of analysis and how to circumvent their inherent limitations.
This book integrates the problem of violence into a larger framework, showing how economic and political behavior are closely linked.
A successful screenplay starts with an understanding of the fundamentals of dramatic story structure. In this practical introduction, Edward J. Fink condenses centuries of writing about dramatic theory into ten concise and readable chapters, providing the tools for building an engaging narrative and turning it into an agent-ready script. Fink devotes chapters to expanding on the six basic elements of drama from Aristotle’s Poetics (plot, character, theme, dialogue, sound, and spectacle), the theory and structure of comedy, as well as the concepts of unity, metaphor, style, universality, and catharsis. Key terms and discussion questions encourage readers to think through the components of compelling stories and put them into practice, and script formatting guidelines ensure your finished product looks polished and professional. Dramatic Story Structure is an essential resource not only for aspiring screenwriters, but also for experienced practitioners in need of a refresher on the building blocks of storytelling.