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Style: An Approach to Appreciating Theatre offers brief, readable chapters about the basics of theatre as a starting point for discussion, and provides new adaptations of classic plays that are both accessible to students learning about theatre and fit for production. In this text, style is the word used to describe the various ways in which theatre is done in real space and time by humans in the physical presence of other humans. The book uses style, the "liveness" of theatre that makes it distinct from literature or history, as a lens to see how playwrights, directors, designers, and actors bring scripts to life on stage. Rather than focusing on theatre history or literary script analysis, it emphasizes actual theatrical production through examples and explores playscripts illustrating four theatrical styles: Realism, Theatricalism, Expressionism, and Classicism. Susan Glaspell’s Realistic play Trifles is presented as written, while The Insect Play by the Brothers Čapek, The Hairy Ape by Eugene O’Neill, and Antigone by Sophocles are original, full-length adaptions. Style: An Approach to Appreciating Theatre is the perfect resource for students of Theatre Appreciation, Introduction to Theatre, Theatrical Design, and Stagecraft courses.
Introduction to Theatre: a Direct Approach addresses the student who is not a theatre major, but is taking a single course. The text attempts to address the most salient points pertinent to a beginning theatre course.
"Written for introductory theatre and theatre appreciation courses, Celebrating Live Theatre: An Introduction gives readers an understanding of what live theatre is and how it is created. Students learn about the roots and traditions of live theatre and the ways in which many styles and genres of theatre around the world can be seen in live performance today. Part One of the text presents theatre as a fragile, yet vital living entity and provides a brief explanation of its roots in ritual around the world. Part Two addresses the essentials required for a live performance - an audience, a story, and an actor. Part Three examines theatrical design and includes images and commentary from professional scenic, costume, and lighting designers. Part Four looks at those who play a role behind the scenes including the director, stage manager, technical director, technical support, and critic. Finally, Part Five introduces genres and styles of theatre from around the world including Asia, Africa, Europe, and North and South America. Celebrating Live Theatre: An Introduction highlights historical and creative influences on theatre and the work that goes into a production. It helps readers appreciate theatre as either members of the audience or practitioners of the art form. Mary Kate Caffrey is an instructor of theatre and speech communication at Framingham State University, as well as a lecturer of theatre at the University of Massachusetts, Boston. She is former professor of theatre and speech communication and chair of the department of communicative arts at Massasoit Community College. Professor Caffrey earned her master's degree in theatre at Northwestern University. She has since directed over 60 productions and co-founded the Threshold Theatre, where she also serves as co-artistic director and director of education. Professor Caffrey was a contributing author to The Power of Thought and Language: An Anthology of Writing by the 2005-2006 Calderwood Fellows at the Boston Atheneum and is the author of the book The Natural Actor."
Theatre: Its Art and Craft is intended for use in theatre appreciation and introduction to theatre courses. This new edition features updated statistics and references that keep the text current. The first chapter of the text introduces readers to the broad issues of artistic practice, while the second chapter inspects the specific area of live theatre. The remainder of chapters examine in detail the various functionaries of the theatre (audience, critics, playwrights, directors, actors, designers, historians, and dramaturgs). As in previous volumes, readers are encouraged to examine the complex interaction of all theatrical elements. Just as in music some instruments supply the basic structure and some embellish that structure, so in the theatre the elements of script, directing, acting, and design interact in shifting configurations to offer a new work of art at every performance. Examining these relationships will enrich the theatrical experience. A Collegiate Press book
How to See a Play by Richard Burton is a detailed and poetic how-to guide for preparing to watch and reflect on prominent 20th-century plays. Excerpt: "THIS book is aimed squarely at the theater-goer. It hopes to offer a concise general treatment upon the use of the theater, so that the person in the seat may get the most for his money; may choose his entertainment wisely, avoid that which is not worthwhile, and appreciate the values of artistic and intellectual of what he is seeing and hearing."
Style for Actors is an award-winning handbook and the definitive guide to roles in historical drama. Anyone who has ever struggled with capes, fans, swords, doublets and crinolines should make this third edition their constant companion. The past is a foreign country, and this outstanding book is concerned with exploring it from the actor's point of view. Specific guides to each major period give readers a clear map to discover a range from Greek, Elizabethan, Restoration and Georgian theatre to more contemporary stylings, including Futurism, Surrealism and Postmodernism. New material in this edition covers Commedia dell'arte and non-Western forms of theatre, theatrical fusion and developments in musicals and Shakespeare. The book’s references, images, resource lists and examples have all been updated to support today's diverse performers. Robert Barton takes great care to present the actor with the roles and genres that will most commonly confront them. Containing a huge resource of nearly 150 exercises, suggestions for scene study and applications not only for theatrical performance but also for stylistic challenges in the reader’s own offstage life, this book is an invaluable resource for students and practitioners of acting and drama.