Theatre Books

As a student who is interested in pursuing illustration, this book is a golden gem for it is a rather thorough journey that is fun to dive into. While many other books similiar to this would simply showcase all the artists' body of work, this book reveals the creative struggle that James McMullan went through with each poster to create an image that met his client's needs. Reference photographs of his models and early color and pencil studies depict the story that is accompanied with each poster that describes McMullan's process. Sometimes an early draft of one of his posters didn't hit the nail with the director of the play: the character depicted in the image needed to look older and more angry, less naive. Whatever the case, McMullan would have to go back and rework. And in some cases, he might even start over with an entirely new idea and take a different road with the poster. With each poster, there's a different story, a different process, a different challenge. And none of the posters that are shown in here have been neglected for the book reveals it all. Above all, I appreciate James McMullan's conceptual talent with his posters that manage to create an image that defines the play as a whole. With this book, it is a pleasure to find the process behind these posters as well as being able to gaze upon their beauty.

Rarely is one able to glimpse into the world of a well-known illustrator. But, in this book, the illustrator James McMullan, takes us into his studio and explains just how he has created the 36 posters, over a 30 year period, for New York City's Lincoln Center. The full-page reproductions of McMullan's posters combined with his lucid prose makes this a beautiful and highly engrossing book. When I went to buy McMullan's book the bookstore clerk said, "this is the most gorgeous book in the store." Indeed, he was right.

great book for understanding theatre the 7th eddition has just updated pictures than the 6th the chapters are almost identicle except placement of pictuers if you are using it for a class the material is the same dont get the 5th or the brief version if the 7th is required the chapters are in different order but the 6th is pretty much the 7th (except silly picture placement ) have fun with you're clss enjoy

I've used a couple of versions of Cohen for 8 years in high school classrooms. (IMHO, much of it isn't freshman and sophomore-friendly.) I personally turn to it often, as well. I have nothing but the highest regard for Cohen's work here. He manages to combine general aesthetic issues with historical detail and current theatrical practices. His enthusiasm is palpable. The "digest" versions of selected plays combine meaty chunks of text with synopses and terrific illustrations. This book energetically avoids a textbook-y tone. (Heads up: I have not seen the latest edition.)

I believe "The Dynamics of Acting" to be an invaluable asset to ANY instructor OR student of theatrics. I,myself,am a former drama student of Joan Snyder,(1969/70 thru 1971/72). I, and all my fellow theater students, remember well when this book was being written. Many of our photographs are featured demonstrating various techniques & styles. For more than 4 years previous to "Dynamics" first edition she taught using the same techniques & styles found in this book. An extraordinarily gifted educator; her success can be measured not only in the many awards her students won in local and statewide competitons, but also in the many paths taken in their adult lives. BELIEVE in Dennis Caltagirone & Joan Snyder, and BELIEVE in thier book "The Dynamics of Acting". Both you, your students and all of your experiences in theatrics & in your lives will be enriched in the process. My all time favorite Joan Snyder phrase:"Remember: The KEY to acting is BELIEVABILITY".

After looking at many books for insights into the theatre and teaching drama to my students, I've discovered the wonder of this book that arranges the abundant material in such an easy to digest form that my students are borrowing it from me to read it themselves. It not only informs, but it cultivates interest and is a necessary reference for any teacher of English Literature, drama or stage production. Thank you Dennis!

Edward Gorey? It's actually NOTHING like Gorey's stuff. Are we even looking at the same thing? The only similarity is that both artists present their respective artwork in black and white.

But, anyway, this stuff is good...very good.

This book is a wonderful graphic novel with indian-style illustrations. Theatre of Cruelty questions human behavior and all that we do. the authors carry out their messages in an appropriately graphic manner. this book is great for fans of Edward Gorey's work, but not meant for those who are easily disturbed.

Robert Wilson is a genius. Simple statement. Simple fact. He has been altering the way we view language, staging, lighting, color, set design, dance, and presentation/direction since 1965 and his current projects dealing with the reinterpretation of opera are even more bold and thrilling than his earlier experimental works. He is getting better and more inventive and is a formidable force in the theater both here in the US and around the world.

Arthur Holmberg's very fine book THE THEATRE OF ROBERT WILSON was published in 1996 as part of the DIRECTORS IN PERSPECTIVE series by Cambridge University Press. While the hardback version is not readily available, the paperback version is still out there in the rarebook stores. If you find one, buy it. Holmberg is not only a fine scholar, he also comes to his subject by means of extended interviews with Wilson. In this book he chronicles the life of Robert Wilson and his involvement in the theater up to the date of this publication. He devotes a large volume of the information to an essay on 'Contextualizing Wilson: from semiotics to semantics' and while the title breathes artspeak, the content is immensely readable and valuable in providing insights as to how Wilson arrived at his most creative view of 'theater'. Holmberg then wisely presents an in depth discussion with photographs of Wilson's major work at that time, 'the CIVILwarS' - a multimedia massive project that remains one of the most inventive works of theater in the repertoire.

The now signature use of symbols for sets, Noh influenced movement, timeless black and white stark costume design, and immensely creative lighting effects are discussed but only to the point of the time of the book. Wilson's latest creations for the opera stage include the wholly successful spiritual experience of his 'Parsifal' now on the stage of the Los Angeles Opera and the equally stunning reductive 'Madama Butterfly' which follows next year. But also his designs and productions of Wagner's Ring cycle will be unveiled next year and promise to once again make that great work yet more meaningful to the audience.

Sadly this book is outdated and the quality of the multiple photographs of Wilson's sets, costumes, and performances are little better than snapshot quality. But the information is fascinating and important. Surely there will begin appearing many books about the creative mind and works of Robert Wilson (perhaps Holmberg will re-do this one and update it) and hopefully those books will include color reproductions of the extraordinary stage pictures from his operas. But until those books come along, this book is well worth searching for. Highly Recommended. Grady Harp, December 05

This is an excellent study on the contemporary stage director Robert Wilson. I have read Dr. Holmberg's book in pre-release. Prospective purchasers should take note that, contrary to what amazon.com says, the book is *not* out of print; it simply has not yet been released by the publisher. Last I heard from a local book store, it will become available in June of 1997. Charles G. Thomas, Cambridge, MA thomas@world.std.com

This book was shipped on time and was even in its wrapping still. Thanks so much

I guess that you'd have to say that this book is an introduction to the Theatre. But that would be cutting it pretty short. At some 600 pages long with 370 photographs, this book is virtually an 'everything you wanted to know about theater.' It has history of the theater, it has a world tour of theater in other places, it has technical sections on subjects like lighting, costumes, makeup, and sound.

The major theme in the book is a description of what a play is, what it does, how it does it. This is done by an analysis of the general rules of play writing, and an analysis (with extensive excerpts) from seven plays: Prometheus Bound, Odipus Tyrannos, The York Cycle, Romeo and Juliet, The Bourgeois Gentlemen, The Three Sisters, and Happy Days.

This seventh edition is updated to include the most recent offerings, recent trends in the theater, an inside view of several prominent Americna playwrights, reorganization of the chapter on musical and contemporary theater, and finally a short booklet called 'Enjoy the Play' on simply going to a play and enjoying it.

This book, a compilation of many short works, is truly one of Kushner's gems. And though, certainly, none of these pieces attains the truly unique, Kushnerian glory of "Angels" (but Good God, does *anything*?) they are most definitely not to be put aside too hastily.

His essays are enlightening, witty and thought-provoking, reminiscent of his drama. And though there are a few that I, admittedly, skip over periodically, most of them are fun, if slightly heavy, short reads.

"Slavs!" is not one of Kushner's best plays, but I must recommend spending some time with it. Like "Angels" and "Bright Room" (and indeed, everything he writes or says), "Slavs!" is dense with political theory, history and humanity. And while it may seem forgettable at first glance (and even second... I acted in it a few months ago, and trust me, it takes a few readings to truly appreciate it) it proves its worth.

Now I come to my favorite parts of the book: Kushner's poems. "An Epithalimion" holds a place (in my mind, at least) among his best writings. This poem is absolutely *alive* with imagery, both visual and emotional. To risk sounding like the cheesiest person ever, reading it just makes me happy; I can't recommend it highly enough. "Second Month of Mourning," too, is beautiful, but in exactly the opposite way: it's truly heart-breaking.

Kushner's prayer that concludes the compilation is one of my favorite pieces ever, ever. It thrills me to read it. It, like all the other works in this book, fits Kushner's mold perfectly: it is joyful and heart-breaking, political and scientific, historical and philosophical. It is the perfect end to this collection.

I have recommended this book to all of my friends, whether or not they are fans of Kushner (though everyone should be a fan of Kushner), and do the same to you. Buy it, read it, love it.

Kushner (perhaps the greatest poetic/playwright genius of our time) has assembled some of his more marginal works (though few of his works actually are marginal) and some of his most brilliant in this collection of "essays, a play, two poems and a prayer." having read all of his plays, including his Tony Award Winning "Angels in America" two part masterpiece, i have to say that SLAVS, while it present a brilliant message, isnt the best of his works. Sometimes, also, these essays can be repetitive. however, some are brilliant, spiced with new meaning and metaphor, different ways of viewing the evils of capitalism and our society. They concern sex and life (as one? as a duality?), love, politics and food. (can we live without any of the above. the answer is never presented, but it must be a resounding no). best of all is Kushner's prayer, at the end of the book, which was delivered on the national prayer for aids day. full of anger and grace, compliance and vengence, this prayer eloquently asks and reasks the questions within all of us, directly to "God." this book provides one of the most provocative and brilliant commentaries that i have seen in recent years.

The package got here in time, i didn't really have a bad experience with its shipment date and it is in excellent shape.

This is a wonderful anthology. For its price, it is probably the best single volume anthology on the market for American theater of the last thirty-some years. These playwrights have dominated the New York Off-Broadway scene for as long as most of us can remember. If you came to New York in 1975 you would have heard the very same names. If you search the theater directory this season you will find their names, not with new works but with revivals of plays written two decades ago. This might be good for the playwrights, but is it good for the theater? Durang and Co. were first produced in edgy little theaters that were at the cutting edge of the theater. Since then these theaters have become institutions with new buildings, long lists of donors, gala openings, and corporate sponsors. Isn't it ironic that instead of producing new work, they do revivals of old-standards by Beth Henley? It is the equivalent of little theaters in the boonies doing revivals of Kauffman and Hart, Noel Coward, and Behrman. And the New York audiences are just like the little theater audiences in towns like Oklahoma city, Bakersfield and Memphis. They're all over 60, drive Cadillacs, and need hearing aids. People attending the revival of Tina Howe's play remember having seen the original production. They go, hoping to see the original cast, who are now all retired. How could this be and why? Virtually every play here anthologized has as its theme, primary or secondary, some form corruption or hypocrisy, yet none in the theater community seems to make the connection between the mega-buck donations they seek and their inability to find and produce new works as exciting as these.

If this book is any indication, Jory must be a marvelous teacher. Clear, concise, and direct, this is the one book about theatre I wish I'd had when I was in school. Targeted mainly toward actors, this is a wise and lucid compendium for ANY theatre artist, or for any patron who wants to understand more about how a play works onstage.

Jory covers all the major themes and topics in pithy one-page descriptions, and clearly relates them to one another. Although he obviously has definite ideas about how to approach a play, he also emphasizes that the actor (playwright, director, etc.) as artist is responsible for making the work organic. He's also very strong on discipline and professional behavior.

This book is for anyone who loves the theatre, and can be heartily recommended for beginners and seasoned professionals alike. Appropriate especially for actors and playwrights, it's full of insights for directors and the rest of the technical team as well. Should be required reading for all university-level theatre programs. Keep it in your script bag when you go to rehearsal, just in case you need a little reminder of why you do this.

In my opinion, this is a book every serious actor needs to have. I've been lucky enough to have Jon as a professor, and "Tips" is the next best thing to being able to actually talk to the guy in person. He's got a lot of down-to-earth, nuts & bolts type advice in very straightforward language. While many theatre people are want to use flowery language and get caught up in the lofty ideal of being an "artist", Jon is much more interested in helping actors serve the STORY they are helping to tell, in a way that a PAYING AUDIENCE will be glad they saw. Jon has a lifetime of experience with the theatre; "Tips" gives you a pretty darn good distillation of that experience.

In this book Dario Fo articulates the relationship between actor and audience in a way only someone who has accepted the physical and mental demands of the acting craft can do. Fo demonstrates he is one part actor, one part scholar, and one part inspired artist. Each page illustrates the line between how an actor acts and their audience cannot be separated from themselves, their society, or from the history of the craft. If nothing else, Fo's joy in performance helps explain why actors remain central to entertainment and to society.

Donald Sutherland praised this book on Charlie Rose 9/10/98Donald Sutherland praised this book on Charlie Rose 9/10/98.

That's good enough for me.

I plan to buy it for my daughter - a fledgling Commedia artist.