This is the cathartic masterpiece of Charlotte Salomon. Entrusted to a friend before her deportation to Auschwitz, her gouache series Life? or Theater? live on as an artistic feat beyond category or comparison. Published here with the 450 most important pieces, including film-like sequences and musical suggestions, this fictional autobiography...

Real Life Drama is the classic history of the remarkable group that revitalized American theater in the 1930s by engaging urgent social and moral issues that still resonate today. Born in the turbulent decade of the Depression, the Group Theatre revolutionized American arts. Wendy Smith's dramatic narrative brings the influential troupe and its founders to life once again, capturing their joys and pains, their triumphs and defeats. Filled with fresh insights into the towering personalities of Harold Clurman, Lee Strasberg, Cheryl Crawford, Elia Kazan, Clifford Odets, Stella and Luther Adler, Karl Malden, and Lee J. Cobb, among many others, Real Life Drama chronicles a passionate community of idealists as they opened a new frontier in theater.

In a series of scenes we see two actors - a seasoned pofessional and a novice - backstage and onstage going through a cycle of roles and an entire wardrobe of costumes.

Alan Read asserts that there is no split between the practice and theory of theatre, but a divide between the written and the unwritten. In this revealing book, he sets out to retrieve the theatre of spontaneity and tactics, which grows out of the experience of everyday life. It is a theatre which defines itself in terms of people and places rather than the idealised empty space of avant garde performance. Read examines the relationship between an ethics of performance, a politics of place and a poetics of the urban environment. His book is a persuasive demand for a critical theory of theatre which is as mentally supple as theatre is physically versatile.

This book will provide valuable reading for drama therapists, theatre artists, probation workers, prison educators, psychologists, and anyone else interested in the role of the performing arts in criminal justice. --Book Jacket.

(Limelight). "He did what he wanted to do: with his wife Judith Malina he created the Living Theatre . . . Not an ivory tower, however: a headquarters of revolution, a guerrilla theater, though a pacifist one . . . He didn't get the kind of death he wanted . . . but . . . he had had the life he wanted . . . When such a life has been lived, who dares say theater is just a business? Who dares say it is just an art?" Eric Bentley

Di Trevis is a world-renowned director, whose work with Britain’s National Theatre, Royal Shakespeare Company, and directing productions worldwide, has deeply informed her knowledge of the director’s craft. In Being a Director, she draws on a wealth of first-hand experience to present an immersive, engaging and vital insight into the role of a director. The book elegantly blends the personal and the pedagogical, illustrating how the parameters of Time, Space and Motion are essential when creating a successful production. Throughout, the author explores and recycles her own formative life experiences in order to demonstrate that who you are is as integral to being a director as what you do.