Looking to study up for the new J2EE 1.5 Sun Certified Web Component Developer (SCWCD) exam? This book will get you way up to speed on the technology you'll know it so well, in fact, that you can pass the brand new J2EE 1.5 exam. If that's what you want to do, that is. Maybe you don't care about the exam, but need to use servlets and JSPs in your next project. You're working on a deadline. You're over the legal limit for caffeine. You can't waste your time with a book that makes sense only AFTER you're an expert (or worse, one that puts you to sleep). Learn how to write servlets and JSPs, what makes a web container tick (and what ticks it off), how to use JSP's Expression Language (EL for short), and how to write deployment descriptors for your web applications. Master the c:out tag, and get a handle on exactly what's changed since the older J2EE 1.4 exam. You don't just pass the new J2EE 1.5 SCWCD exam, you'll understand this stuff and put it to work immediately. Head First Servlets and JSP doesn't just give you a bunch of facts to memorize; it drives knowledge straight into your brain. You'll interact with servlets and JSPs in ways that help you learn quickly and deeply. And when you're through with the book, you can take a brand-new mock exam, created specifically to simulate the real test-taking experience.

A book on acting craft that explains basic technique with clarity, specificity and humor while offering the largest, most effective step-by-step collection of sure-fire acting games and exercises available. Head First Acting will have an immediate impact on high-school drama students' rehearsal and performance levels.

A must-have for any aspiring actor or stage parent––the definitive guide to breaking into film, television, theater, and even YouTube from a top casting director Packed with information that aspiring actors clamor for, this up-to-the-minute advice from a true expert is essential reading for anyone pursuing an acting career. Longtime casting director Jen Rudin demystifies the intimidating and constantly changing audition process, sharing insider tips on how to prepare for every type of audition, from musical theater, television (including reality TV), and film to voice-overs, animated movies, and even Web series. In this comprehensive guide, Rudin covers everything that today's actor needs to succeed on subjects like: finding an agent or manager, using technology to your advantage, understanding the world of child acting, living in New York versus L.A., turning a callback into an offer for the role, and many more. Every actor should walk into an audition room feeling confident and prepared, and this book is full of the dos and don'ts and surefire tricks to help turn rejection into that first big break. Complete with checklists, easy-to-follow game plans, and advice from successful actors, agents, and industry professionals, Confessions of a Casting Director is like having a private audition coach in your back pocket.

A guide for data managers and analyzers. It shares guidelines for identifying patterns, predicting future outcomes, and presenting findings to others.

The classic text on the craft of Method acting by the founder of The American Laboratory Theatre. After studying at the Moscow Art Theatre under Konstantin Stanislavski, Richard Boleslavsky became one of the most important acting teachers of his or any generation. Bringing Stanislavski’s system to America in the 1920s and 30s, he influenced many of the titans of American drama, from his own students—including Lee Strasburg and Stella Adler—to Marlon Brando, Paul Newman, and many others. In Acting: The First Six Lessons, Boleslavsky presents his acting theory and technique in a series of accessible and engaging dialogues. Widely considered a must-have for any serious actor, Boleslavsky’s work has long helped actors better understand their craft.

The Actor as Storyteller is intended for serious beginning actors. It opens with an overview, explaining the differences between theater and its hybrid mediums, the part an actor plays in each of those mediums. It moves on to the acting craft itself, with a special emphasis on analysis and choice-making, introducing the concept of the actor as storyteller, then presents the specific tools an actor works with. Next, it details the process an actor can use to prepare for scene work and rehearsals, complete with a working plan for using the tools discussed. The book concludes with a discussion of mental preparation, suggestions for auditioning, a process for rehearsing a play, and an overview of the realities of show business. Included in this updated edition are: • A detailed examination of script analysis of the overall play and of individual scenes • A sample of an actor's script, filled with useful script notations • Two new short plays, one written especially for this text • Updated references, lists of plays, and recommended further reading

Mastery of craft depends on repetition: the more opportunities student actors have to be guided through analyzing scripts, the more likely they are to develop a reliable process for making choices when the time comes to work independently. That's why Acting on the Script contains eight short plays, which can be used independently or as parts of one full-length play, giving aspiring actors the practice they need to tell the story of the play and of their characters clearly, believably, and compellingly. With each new scene, readers are given the opportunity to think through the analysis and synthesis process independently, then they are guided clearly through that process. The first section reintroduces the basic elements of acting craft. The book then lays out how these elements relate to a script in general and then more specifically – by using a short play to illustrate the basic principles. The second section focuses on specific analysis and synthesis problems using original scenes especially composed to help students develop their analysis and choice-making skills and to address individual acting issues. The plays, already tested in classes and two productions (one professional and one college), are filled with the kinds of acting problems that beginning actors often have trouble with and need to learn to solve. In addition, specific problems that actors might have with certain types of material are addressed as well.

“Masterful. . . . presents a cogent and compelling picture of preschool programs serving low socioeconomic status students who achieve equity and excellence.” —Choice The High-Performing Preschool takes readers into the lives of three- and four-year-old Head Start students during their first year of school and focuses on the centerpiece of their school day: story acting. In this activity, students act out stories from high-quality children’s literature as well as stories dictated by their peers. Drawing on a unique pair of thinkers—Russian psychologist Lev Vygotsky and renowned American teacher and educational writer Vivian G. Paley—Gillian Dowley McNamee elucidates the ways, and reasons, this activity is so successful. She shows how story acting offers a larger blueprint for curricula that helps ensure all preschools—not just those for society’s well-to-do—are excellent. McNamee outlines how story acting cultivates children’s oral and written language skills. She shows how it creates a crucial opportunity for teachers to guide children inside the interior logic and premises of an idea, and how it fosters the creation of a literary community. Starting with Vygotsky and Paley, McNamee paints a detailed portrait of high-quality preschool teaching, showing how educators can deliver on the promise of Head Start and provide a setting for all young children to become articulate, thoughtful, and literate learners. “As McNamee demonstrates in detail, a classroom is never simply a setting: by engaging what is already there—the students’ ideas, imaginations, experiences, stories, relations, and conversations—it becomes a powerful source of development.” —Luis C. Moll, University of Arizona

"Considered an essential text since its publication thirty-five years ago, this guide for students and practitioners of both theater and literature complements, rather than contradicts or repeats, traditional methods of literary analysis of scripts