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In Backstage in the Novel, Francesca Saggini traces the unique interplay between fiction and theater in the eighteenth century through an examination of the work of the English novelist, diarist, and playwright Frances Burney. Moving beyond the basic identification of affinities between the genres, Saggini establishes a literary-cultural context for Burney's work, considering the relation between drama, a long-standing tradition, and the still-emergent form of the novel. Through close semiotic analysis, intertextual comparison, and cultural contextualization, Saggini highlights the extensive metatextual discourse in Burney's novels, allowing the theater within the novels to surface. Saggini’s comparative analysis addresses, among other elements, textual structures, plots, characters, narrative discourse, and reading practices. The author explores the theatrical and spectacular elements that made the eighteenth-century novel a hybrid genre infused with dramatic conventions. She analyzes such conventions in light of contemporary theories of reception and of the role of the reader that underpinned eighteenth-century cultural consumption. In doing so, Saggini contextualizes the typical reader-spectator of Burney’s day, one who kept abreast of the latest publications and was able to move effortlessly between "high" (sentimental, dramatic) and "low" (grotesque, comedic) cultural forms that intersected on the stage. Backstage in the Novel aims to restore to Burney's entire literary corpus the dimensionality that characterized it originally. It is a vivid, close-up view of a writer who operated in a society saturated by theater and spectacle and who rendered that dramatic text into narrative. More than a study of Burney or an overview of eighteenth-century literature and theater, this book gives immediacy to an understanding of the broad forces informing, and channeled through, Burney's life and work.
Two-Faced Racism examines and explains the racial attitudes and behaviours exhibited by whites in private settings. While there are many books that deal with public attitudes, behaviours, and incidences concerning race and racism (frontstage), there are few studies on the attitudes whites display among friends, family, and other whites in private settings (backstage). The core of this book draws upon 626 journals of racial events kept by white college students at twenty-eight colleges in the United States. The book seeks to comprehend how whites think in racial terms by analyzing their reported racial events.
The Stage Manager’s Toolkit provides a comprehensive account of the role of the stage manager for live theatre with a focus on both written and verbal communication best practices. The book outlines the duties of the stage manager and assistant stage manager throughout a production, discussing not only what to do but why. The book identifies communication objectives for each phase of production, paperwork to be created, and the necessary questions to be answered in order to ensure success. This book was written for Stage Management courses in Theatre programs and for the working professional.
This book is no bull, straight from the mouth of a blunt talent agent, currently hustling for over 500 clients and closing deals daily. His words are legit instructions on how to be a working actor in film and TV. Organized into three sections: Getting an Agent, Working with Your Agent, and Thriving with Your Agent, this Q&A format addresses actor questions at all stages of a career. After nearly a decade of sitting on panels and acknowledging that the majority of raised hands are never called upon, Jason Lockhart decided to answer them ALL, right here, right now, in an energetic, honest, and organized place. Getting inside the mind of an agent is crucial, as they are generally the first gatekeeper to an actor's success. Consider this book your secret weapon to breaking in or leveling up.
Backstage Economies: Labour and Masculinities in Contemporary European Dance investigates gender politics and labour practices in contemporary European dance. By focusing on masculinities and job careers in professional dance, this study looks at the cultural, historical, and material conditions that shape the dancers' experience of 'the everyday' as they travel to work; struggle to secure funding; nurse injuries; and negotiate their gender and work identities. The emphasis on the dancers' everyday experience is designed to critically explore and to challenge the established methodological boundaries of dance studies: the focus shifts away from the scholarly attentions that are more regularly paid to the phenomenology and perception of performance, towards the material conditions of dance production. In general, this book revisits the debates in dance education related to gender politics and the well-being of dancers; and it also traces and discusses some significant shortcomings of the current European dance policies and employment practices.
In this carefully detailed and rigorous study of the social processes of labor negotiations, the author uncovers the pressures and motivations felt by negotiators, showing why the bargaining process persists largely in its traditional form despite frequent calls for change. Raymond Friedman approaches labor negotiations with a conviction that negotiators are situated in a social network that greatly influences bargaining styles. In this carefully detailed and rigorous study of the social processes of labor negotiations, he uncovers the pressures and motivations felt by negotiators, showing why the bargaining process persists largely in its traditional form despite frequent calls for change. Friedman first focuses on the social structure of labor negotiations and the logic of the traditional negotiation process. He then looks at cases where the traditional rituals of negotiation were set aside and new forms emerged and, in the light of these examples, addresses the options for and obstacles to change.In an unusual twist Friedman describes the persistence of the traditional negotiation process by developing a dramaturgical theory in which negotiators are seen as actors who perform for teammates, constituents, and opponents. They try to convince others of their skill, loyalty, and dedication, while others expect them to play the role of opponent, representative, and leader. Friedman shows that the front-stage drama fulfills these needs and expectations, while backstage contacts between lead bargainers allow the two sides to communicate in private. The traditional labor negotiation process, he reveals, is an integrated system that allows for both private understanding and public conflict. Current efforts to change how labor and management negotiate are limited by the persistence of these roles, and are bound to fail if they do not account for the benefits as well as the flaws of the traditional rituals of negotiation. For negotiation scholars, Friedman's perspective provides an alternative to the rational-actor models that dominate the field; his dramaturgical theory is applicable to any negotiations done by groups, especially ones that face political pressures from constituents. For labor scholars, this is the first integrated theory of the negotiation process since Walton and McKersies's classic text, and one that helps unite the four elements of their model. For sociologists, the book provides an example of how a dramaturgical perspective can be used to explain the logic and persistence of a social institution. And practitioners will appreciate this explanation of why change is so difficult. Organization Studies series
Have you ever dreamed about becoming an actor or commercial model but had no idea how to get started? Or, how to take your current career to the next level? Do you live in a small market and think there is no work available, can't find an agent or afraid of being scammed? Actors and commercial models of all ages and sizes, beautiful and real looking, are cast for magazine, newspaper and billboard ads and in TV commercials, films and TV shows. From getting discovered to landing your dream audition and role, How to Become a Successful Actor and Model is the ultimate step-by-step, no luck required guide to becoming a successful actor and model. For over 34 years, Aaron Marcus has worked as a full-time actor and commercial model, booking over 1,250 jobs. Some of his many bookings includes: Gotham, House of Cards, Heart of Life, Irresistible, Thespian, Philomena, Halt and Catch Fire, Project Almanac, The Wire and Do No Harm. He has taken all of the strategies, techniques and lessons he has learned over his career and boiled them down into a simple, sensible, engaging, and fun approach to how actors and models can book the job! This book explains how he did it, and how you can too. Aaron teaches you, in a practical, honest, and economical way, his secrets and strategies for getting started and succeeding no matter where you live. Aaron has written this book to not only help those wanting to break into the industry, but also to help those actors and models who want to take their career to the next level. The chapters in How to Become a Successful Actor and Model are: 1. What is Commercial Modeling? 2. Preparation for Commercial Modeling 3. Head Shots 4. Resumes 5. Composite Sheets 6. Makeup 7. Finding a Good Agent 8. How to Get Work 9. How to Work as a Professional Model 10. Auditioning (Including – How to Shoot Home Auditions) 11. The Realities of Being a Full-time Actor and Model 12. Now What Do You Do? 13. Resources **Bonus** Free list of over 500 agents (agents from every state in the U.S.) and in other countries as well