Come join this comprehensive workshop with actor, teacher, artist, Jeffrey Dreisbach as he shows you the best methods, techniques and inside tips that can launch your professional voice-over career. Whether you are new to this potentially lucrative performance art or an accomplished actor looking to broaden your skill set, this Master class will guide you every step of the way. From copy interpretation techniques and audition tools to choosing the right material for your demo, each chapter provides in-depth information in an upbeat, humorous and conversational style...Just as if you were in the studio taking Jeffrey's workshop in person. Actor, artist, teacher and author Jeffrey Dreisbach began his professional acting career at an early age in Michigan. He received a BFA Degree from Wayne State University after performing at Walt Disney World (Cal Arts) and advance theater training in London, England (Roger Williams College). For the next 20 years, Jeff found success acting in New York, accumulating theater, film and television credits. On Broadway, he was in the original cast of A Few Good Men and A New York Summer. He played, Norman Van Buren on NBC's Another World, national tours of Grease, Boys Next Door, Nurse Jane Goes to Hawaii and in numerous regional theater productions. Feature film roles include, Splash, Die Hard 3, Thomas Crown Affair, Monday Night Mayhem, among others. It was during this period Jeffrey performed in several national commercials and voice-overs. Notable clients included, KFC, Pepsi, Spidel watch, Palmolive, HBO, etc. as well as animation voices for Mattel Toys and voice chip manufacturer, Pragmatic Designs. A short time later, Jeffrey served as executive director of the nation's oldest and largest group broadcast training schools. He remained in this capacity for 12 years. As teacher and administrator, he developed unique voice-over and on-camera presentation training techniques and course curriculums. Using his acting experience, technical and teaching skills, Jeffrey now incorporates his unique background and energetic personality at colleges, universities and professional training programs looking to enhance and broaden their performing arts programs. Conversation Pieces out of the studio, The voice-over workshop for professional actors is his second book. Conversation Pieces out of the Woods, his first book, is a pictorial collection of of tree, branch and root furniture hand crafted by Jeffrey.

"Support structures is a manual for what bears, sustains, props and holds up. It is the culminations of many endeavours. The first is the collaborative project "Support Structures" by Céline Condorelli and Gavin Wade from 2003-2009. The second is a critical enquiry by Condorelli that exposes an almost complete absence of literature or theory of what constitutes "support". This book is itself articulated as a supporting structure, a manual for engagement in and with its subject, which attempts both functionally and structurally to operate much like it." -- Foreword.

"This publication accompanies the exhibitions Céline Condorelli at Chisenhale Gallery, London, and Positions at Van Abbemuseum, Eindhoven, 2014..."-- page [118].

An examination of Lee Lozano's greatest experiment in art and endurance—a major work of art that might not exist at all. The artist Lee Lozano (1930–1999) began her career as a painter; her work rapidly evolved from figuration to abstraction. In the late 1960s, she created a major series of eleven monochromatic Wave paintings, her last in the medium. Despite her achievements as a painter, Lozano is best known for two acts of refusal, both of which she undertook as artworks: Untitled (General Strike Piece), begun in 1969, in which she cut herself off from the commercial art world for a time; and the so-called Boycott Piece, which began in 1971 as a month-long experiment intended to improve communication but became a permanent hiatus from speaking to or directly interacting with women. In this book, Sarah Lehrer-Graiwer examines Lozano's Dropout Piece, the culmination of her practice, her greatest experiment in art and endurance, encompassing all her withdrawals, and ending only with her burial in an unmarked grave. And yet, although Dropout Piece is among Lozano's most important works, it might not exist at all. There is no conventional artwork to be exhibited, no performance event to be documented. Lehrer-Graiwer views Dropout Piece as leveraging the artist's entire practice and embodying her creative intelligence, her radicality, and her intensity. Combining art history, analytical inquiry, and journalistic investigation, Lehrer-Graiwer examines not only Lozano's act of dropping out but also the evolution over time of Dropout Piece in the context of the artist's practice in New York and her subsequent life in Dallas.

A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore.

EDUCATION / Arts in Education

Programme Making for Radio offers trainee radio broadcasters and their instructors focused practical guidelines to the professional techniques applied to the making of radio shows, explaining how specific radio programmes are made and the conventions and techniques required to produce them. This book describes how and why these methods are applied through the use of a behind-the-scenes glimpse at working practices and procedures used in the industry. It considers the constraints and incentives that limit or stimulate creativity and innovation within programme production. Programme Making for Radio examines the individual roles and responsibilities of the whole production team and the importance of team-working skills. Chapters focus on the specific requirements of specialist programmes and offer advice from a range of programme makers working in local and national broadcasting. There is a case study example that follows the progress of a feature programme from pitching the original idea, through assembling material to final transmission. Programme Making for Radio includes: a clear description of the role of each member of the programme making team, their duties and responsibilities practical tips on interviewing, mixing and presenting explanations of the key elements that make up a radio programme such as clips, wraps, packages, features and interviews with a full glossary of technical terms. This book is informative, accessible and comprehensive, covering the whole range of skills needed by the radio professional in the studio and on location.

A series of philosophical meditations on the nature of aesthetics across a wide array of filmmaking styles Images, whether filmic or not, cannot be replaced by words. Yet words can make images. This is the general thesis underlying So What, a collection of essays on canonical filmmakers like Luchino Visconti and Orson Welles; more experimental directors, such as Marguerite Duras and Albert Serra; and visual artists, including Hollis Frampton and Agnes Martin. Alexander García Düttmann aims to make their films as if they did not precede his text, capturing their idea and experience. If the relationship between filmic image and text is a heterogeneous one, then this heterogeneity must leave a trace. This is why the book’s chapters are organized not according to historical periods or on the basis of film theories but rather by single concepts that function like dictionary entries. The chapters adopt different forms, blurring the lines between art and philosophy. So What is a practical exercise in “making films with words,” inviting readers to draw out insights from its conceptual play. So What compiles previously untranslated and hard-to-find essays into a single volume, one that represents the absorbing and singular thought process of a major contemporary philosopher.

Writing from first-hand experience, the author describes the role of the producer in the making of an original television play, from the initial discussions with writers to the transmission. Irene Shubik worked on "Play for Today" for the BBC and was also a drama producer for ITV.