Simon Callow leads a two-day class on Restoration comedy with a group of British actors, including Gail McFarlane, Harry Meacher, Pamela Moiseiwitsch and Michael Stroud. It deals with The relapse by John Vanbrugh and shows practical acting techniques.

(Applause Acting Series). The art of acting in restoration comedy, the buoyant, often bowdy romps which celebrated the reopening of the English theatres after Cromwell's dour reign, is the subject of Simon Callow's bold investigation. There is cause again to celebrate as Callow, one of Britain's foremost actors, aims to restore the form to all its original voluptuous vigor. Callow shows the way to attain clarity and hilarity in some of the most delightful roles ever conceived for the theatre.

An exploration of the ways in which Restoration comedy was performed, using the costume, customs, manners and behaviour of the age as a way of understanding its theatre and drama. It also considers problems encountered in early twentieth century revivals of plays by authors such as Etherege, Dryden, Congreve and Farquhar.

Fourteen specially commissioned essays provide essential information about staging, playwrights, themes and genres in the drama of the Restoration.

This book provides a taxonomy of prologues and epilogues with a corresponding appendix, and demonstrates through case studies of Anne Bracegirdle and Anne Oldfield how the study of prologues and epilogues enriches Restoration theater scholarship.

Restoration comedies of manners are at once bitingly true-to-life and deceptively artificial. Their style, elegance, grace, and wit provide the kind of challenge actors continue to love. Now Suzanne Ramczyk offers both directors and actors the tools they need to perform these popular plays. Drawing on her directing experience and her years of leading workshops on Restoration theatre, Ramczyk provides: an historic overview of the period and the literature analysis of the major literary devices and features methods to approach vocal interpretation of often highly artificial text a solid grounding in period manners and movement specific exercises to get actors quickly and easily into the Restoration style detailed artwork of period costumes illustrations of such period necessities as bows, curtsies, the "language" of the fan, and snuff taking. Read Ramczyk and explore the possibilities of Restoration comedy from first reading to final, polished performance.

The magic of Naples during Carnival inspires love between a disparate group of local citizens and visiting Englishmen.

The new, fifth edition of Robert Cohen's Acting One, the text used to teach acting on more campuses than any other, has now been combined for the first time with his Acting Two, (the second edition of his previously-titled Advanced Acting). Together, Acting One/Acting Two provides a comprehensive and fully integrated system of all acting, from the most realistic to the most stylized. Part One (Acting One) covers basic skills such as talking, listening, tactical interplay, physicalizing, building scenes, and making powerful acting choices. Part Two (Acting Two) provides a series of exercises that encourage the student actor's self-extension into radically different styles (historical, literary, fantastical) and characterizations; then coaches the student through scenework in a variety of historical periods (Greek, Commedia, Elizabethan, Molière, Restoration, Belle Epoque), as well as modern hyper-realistic theatrical forms such as the theatres of alienation and the absurd, and exemplary recent dramas by Tony Kushner, Margaret Edson, August Wilson and Doug Wright.