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A useful, informative career guide for students considering a career in theatre.
Intended for producers at student or amateur level. The first how-to book of its kind on the subject of producing.
A detailed guide to the collaborative method developed by the acclaimed creators of The Laramie Project and Gross Indecency--destined to become a classic. A Vintage Original. By Moisés Kaufman and Barbara Pitts McAdams with Leigh Fondakowski, Andy Paris, Greg Pierotti, Kelli Simpkins, Jimmy Maize, and Scott Barrow. For more than two decades, the members of Tectonic Theater Project have been rigorously experimenting with the process of theatrical creation. Here they set forth a detailed manual of their devising method and a thorough chronicle of how they wrote some of their best-known works. This book is for all theater artists—actors, writers, designers, and directors—who wish to create work that embraces the unbridled potential of the stage.
(Applause Books). In 1943, a wounded soldier aided by a cane limped into the Stage Door Canteen, the American Theatre Wing's fabled New York club created to entertain the Allied forces. Two hours later, he was said to have left with a spring in his step and without the cane. This "miracle" is recounted in the lavish new book, The American Theatre Wing, an Oral History: 100 Years, 100 Voices, 100 Million Miracles . The other 999,999 miracles are more commonplace, if no less remarkable, told by the impassioned artists and theater advocates who created and sustained this preeminent theatrical organization founded in 1917. While the American Theatre Wing is best known as the founder of the Tony Awards, its mission is also dedicated to preserving the past, celebrating the present, and fostering the future of American theater by developing educational programs and distributing national grants and awards each year to performers and theater companies. The organization also recently took under its wing the irreverent OBIE awards, the top honors for off-Broadway that has become a dynamic pipeline for Broadway. This coffee-table book, celebrating the 100th Anniversary of the American Theatre Wing, is a fascinating cornucopia of untold lore and never-before-seen photos as prismatic and unexpected as the theater itself. The oral history traces the American Theatre Wing as a defender of the country's most romantic ideals through two world wars, presciently establishing an interracial policy at the Stage Door Canteen despite being denounced from the well of the United States Senate. In succeeding decades the ATW has burnished those ideals through its unflagging support of artists from Broadway, Off Broadway, and regional theater many of whom vividly tell their own stories in the book, including Angela Lansbury, Patti LuPone, Audra McDonald, Harold Prince, Neil Patrick Harris, James Corden, and Lin-Manuel Miranda.
Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.
A handy guide from a musical theatre star.
A hands-on, step-by-step guide to directing plays--by one of Britain's leading theatre directors.
How dull plays are killing theatre and what we can do about it. Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer gut he’d become. There were of course those rare moments of transcendencethat kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination. ‘[Tannahill is] the poster child of a new generation of (theatre? film? dance?) artists for whom "interdisciplinary" is not a buzzword, but a way of life.’ —J. Kelly Nestruck, Globe and Mail ‘Jordan is one of the most talented and exciting playwrights in the country, and he will be a force to be reckoned with for years to come.’ —Nicolas Billon, Governor General's Award–winning playwright (Fault Lines)
Jenna Fischer's Hollywood journey began at the age of 22 when she moved to Los Angeles from her hometown of St. Louis. With a theater degree in hand, she was determined, she was confident, she was ready to work hard. So, what could go wrong? Uh, basically everything. The path to being a professional actor was so much more vast and competitive than she'd imagined. It would be eight long years before she landed her iconic role on The Office, nearly a decade of frustration, struggle, rejection and doubt. If only she'd had a handbook for the aspiring actor. Or, better yet, someone to show her the way—an established actor who could educate her about the business, manage her expectations, and reassure her in those moments of despair. Jenna wants to be that person for you. With amusing candor and wit, Fischer spells out the nuts and bolts of getting established in the profession, based on her own memorable and hilarious experiences. She tells you how to get the right headshot, what to look for in representation, and the importance of joining forces with other like-minded artists and creating your own work—invaluable advice personally acquired from her many years of struggle. She provides helpful hints on how to be gutsy and take risks, the tricks to good auditioning and callbacks, and how not to fall for certain scams (auditions in a guy's apartment are probably not legit—or at least not for the kind of part you're looking for!). Her inspiring, helpful guidance feels like a trusted friend who's made the journey, and has now returned to walk beside you, pointing out the pitfalls as you blaze your own path towards the life of a professional actor.
The Invisible Actor presents the captivating and unique methods of the distinguished Japanese actor and director, Yoshi Oida. While a member of Peter Brook's theatre company in Paris, Yoshi Oida developed a masterful approach to acting that combined the oriental tradition of supreme and studied control with the Western performer's need to characterise and expose depths of emotion. Written with Lorna Marshall, Yoshi Oida explains that once the audience becomes openly aware of the actor's method and becomes too conscious of the actor's artistry, the wonder of performance dies. The audience must never see the actor but only his or her performance. Throughout Lorna Marshall provides contextual commentary on Yoshi Oida's work and methods. In a new foreword to accompany the Bloomsbury Revelations edition, Yoshi Oida revisits the questions that have informed his career as an actor and explores how his skilful approach to acting has shaped the wider contours of his life.