Explores the contribution the design of a theatre can make to the theatrical experience. It also examines the failure of many modern theatres to appeal to audiences and theatre people.

Understanding the theatre space on both the practical and theoretical level is becoming increasingly important to people working in drama, in whatever capacity. Theatre architecture is one of the most vital ingredients of the theatrical experience and one of the least discussed or understood. In Architecture, Actor and Audience Mackintosh explores the contribution the design of a theatre can make to the theatrical experience, and examines the failings of many modern theatres which despite vigorous defence from the architectural establishment remain unpopular with both audiences and theatre people. A fascinating and provocative book.

USE THE ACTOR MODEL TO BUILD SIMPLER SYSTEMS WITH BETTER PERFORMANCE AND SCALABILITY Enterprise software development has been much more difficult and failure-prone than it needs to be. Now, veteran software engineer and author Vaughn Vernon offers an easier and more rewarding method to succeeding with Actor model. Reactive Messaging Patterns with the Actor Model shows how the reactive enterprise approach, Actor model, Scala, and Akka can help you overcome previous limits of performance and scalability, and skillfully address even the most challenging non-functional requirements. Reflecting his own cutting-edge work, Vernon shows architects and developers how to translate the longtime promises of Actor model into practical reality. First, he introduces the tenets of reactive software, and shows how the message-driven Actor model addresses all of them–making it possible to build systems that are more responsive, resilient, and elastic. Next, he presents a practical Scala bootstrap tutorial, a thorough introduction to Akka and Akka Cluster, and a full chapter on maximizing performance and scalability with Scala and Akka. Building on this foundation, you’ll learn to apply enterprise application and integration patterns to establish message channels and endpoints; efficiently construct, route, and transform messages; and build robust systems that are simpler and far more successful. Coverage Includes How reactive architecture replaces complexity with simplicity throughout the core, middle, and edges The characteristics of actors and actor systems, and how Akka makes them more powerful Building systems that perform at scale on one or many computing nodes Establishing channel mechanisms, and choosing appropriate channels for each application and integration challenge Constructing messages to clearly convey a sender’s intent in communicating with a receiver Implementing a Process Manager for your Domain-Driven Designs Decoupling a message’s source and destination, and integrating appropriate business logic into its router Understanding the transformations a message may experience in applications and integrations Implementing persistent actors using Event Sourcing and reactive views using CQRS Find unique online training on Domain-Driven Design, Scala, Akka, and other software craftsmanship topics using the for{comprehension} website at forcomprehension.com.

Shakespeare: Actors and Audiences brings together the voices of those who make productions of Shakespeare come to life. It shines a spotlight on the relationship between actors and audiences and explores the interplay that makes each performance unique. We know much about theatre in Shakespeare's time but very little about the audiences who attended his plays. Even today the audience's voice remains largely ignored. This volume places the role of the audience at the centre of how we understand Shakespeare in performance. Part One offers an overview of the best current audience research and provides a critical framework for the interviews and testimony of leading actors, theatre makers and audience members that follow in Part Two, including Juliet Stevenson and Emma Rice. Shakespeare: Actors and Audiences offers a fascinating insight into the world of theatre production and of the relationship between actor and audience that lies at the heart of theatre-making.

A new theory of acting that tears down the theatrical "Fourth Wall"

This book offers an innovative account of how audiences and actors emotionally interacted in the English theatre during the middle decades of the eighteenth century, a period bookended by two of its stars: David Garrick and Sarah Siddons. Drawing upon recent scholarship on the history of emotions, it uses practice theory to challenge the view that emotional interactions between actors and audiences were governed by empathy. It carefully works through how actors communicated emotions through their voices, faces and gestures, how audiences appraised these performances, and mobilised and regulated their own emotional responses. Crucially, this book reveals how theatre spaces mediated the emotional practices of audiences and actors alike. It examines how their public and frequently political interactions were enabled by these spaces.

Theatre is one of the longest-standing art forms of modern civilization. Taking a global look at how various forms of theatre - including puppetry, dance, and mime - have been interpreted and enjoyed, this book explores all aspects of the theatre, including its relationship with religion, literature, and its value worldwide.

Offers a new, interdisciplinary account of early modern drama through the lens of playing and playgoing.

The Third Space serves a crucial need for contemporary performers by providing an interdisciplinary and physiovocal approach to training. It is a new take on body and voice integration designed to develop the holistic performer. It takes performers through a series of step-by-step practical physiovocal exercises that connects the actor’s centre to the outside world, which increases awareness of self and space. It also develops a deeper connection between spaces within the body and the environment by connecting sound, imagination, and movement. Robert Lewis’s approach is a way of working that unlocks the imagination as well as connecting performers to self, space, and imagination, through voice and body. It conditions, controls, and engages performers by integrating various voice and movement practices. The theories and practice are balanced throughout by: introducing the practical works theoretical underpinnings through research, related work, and case studies of performances; demonstrating a full program of exercises that helps performers get in touch with their centre, their space, and shape both within and outside the body; and exploring the performers physiovocal instrument and its connection with imagination, energies, and dynamics. This book is the result of nearly 20 years of research and practice working with voice and movement practitioners across the globe to develop training that produces performers that are physiovocally ready to work in theatre, screen, and emergent technologies.

Chris Baugh explores how developments and changes in technology have been reflected in scenography throughout history. Taking into account the latest research, his new edition examines moving light technologies, the internet as a platform of performance, urban scenography and how scenography has developed as a collaborative practice. Chris Baugh explores how developments and changes in technology have been reflected in scenography throughout history. Taking into account the latest research, his new edition examines moving light technologies, the internet as a platform of performance, urban scenography and how scenography has developed as a collaborative practice.