Differences on Stage is a collection of twelve original essays by leading international theatre critics and scholars, which aims to address the relationship between theatre and the development of political awareness through the voice of subaltern people. The book is enriched by the contributions of some of the most engaged protagonists of the stage, who, in their capacity as authors, players and directors, denounce prejudice and conformism whilst allowing the marginalized sections of society to speak out. An authoritative overview of the theatre of differences, this book offers a key interpretation of contemporary society and underscores that, although theatre no longer holds a central position in our multi-media society, the theatre of marginalized spaces ironically becomes central again and regains its role as the brain and lungs of the community. Differences on Stage covers a variety of topics across a multi-cultural and geographical spectrum, and its contributions present previously unexplored connections between the discourses of theatre and anthropological, cultural and translation studies, offering new critical readings, and drawing on recent theoretical frameworks.

Play Readings: A Complete Guide for Theatre Practitioners demystifies the standards and protocols of a play reading, demonstrating how to create effective and evocative readings for those new to or inexperienced with the genre. It examines all of the essential considerations involved in readings, including the use of the venue, pre-reading preparations, playwright/director communication, editing/adapting stage directions, casting, using the limited rehearsal time effectively, simple "staging" suggestions, working with actors, handling complex stage directions, talkbacks, and limiting the use of props, costumes, and music. A variety of readings are covered, including readings of musicals, operas, and period plays, for comprehensive coverage of this increasingly prevalent production form.

"This book focuses on the performance of classical music, but the basic principles are the same for all kinds of music. Musicians need to make their audiences receptive and to give them a lasting, positive impression. Just as classical training lays a foundation for the performance of other kinds of music, the basics of stage presence outlines here may be adopted to all kinds of performances, by all kinds of musicians." - page xiii.

Acting for the Stage is a highly accessible guide to the business of theater acting, written for those interested in pursuing acting as a profession. This book is a collection of essays by and interviews with talented artists and businesspeople who have built successful careers in the theater; it’s a goldmine of career advice that might take years to find on your own. Herein, the myths around professional acting are dispelled, and the mysteries revealed. Acting for the Stage illuminates practical strategies to help you build a life as a theater professional and find financial rewards and creative fulfillment in the process. Contains essays by and interviews with working stage actors, acting coaches, directors, writers, and agents. Features discussions on selecting a graduate school program, choosing acting classes and workshops, making the most out of your showcase, landing an agent, networking and promoting yourself, and the business of casting. Covers issues of money management, balancing the highs and lows of the profession, finding work to nourish your acting career, and building your creative team and support network.

Drawing on interview material from more than 20 leading stage managers from the UK, USA and Australia, this book situates the contemporary practice of stage management within its historical and social contexts. Questioning the notions of the invisible stage manager and a linear production process, it argues for a broader conception of stage management lying at the intersections of administration, management and artistry. This volume places stage management practice within key theories drawn from the diverse fields of performance studies, semiotics, phenomenology, distributed cognition, management and scenography. It champions the creative agency of stage management and details the properties of communication which stage managers manipulate and the objectives they set out to achieve as a guide for decision making. While it considers the different approaches necessitated by productions from different cultures, genres, and so on, it offers a view of stage management which is not bound by these differences.

Film and Television Acting offers solid techniques for creating a natural, believable performance for film and television. The reader will discover techniques for listening and reacting, blocking and business, character, focus, the closeup, and comedy as they pertain to acting in front of a camera. The book analyzes the differences between theatre, film, and television acting, providing the theatre trained actor with specific approaches for making the transition to on-camera work. This second edition is thoroughly revised and updated. The book contains numerous scenes and exercises, including sample scenes from Cheers and Seinfeld, which provide the reader with ways to practice the specific techniques outlined by the author. Included are interviews with well-know actors and directors: Don Murray, Norman Jewison, and Emmy award winner, Glenn Jordan, to name a few. These interviews illustrate how the professionals apply their training and technique to filmed performances. There is also a chapter-length interview with John Lithgow, in which the actor provides a first-hand account of the differences of acting for the theatre and for the camera.

Modern plays are strikingly diverse and, as a result, any attempt to locate an underlying unity between them encounters difficulties: to focus on what they have in common is often to overlook what is of primary importance in particular plays; to focus on their differences is to note the novelty of the plays without increasing their accessibility. In this study, first published in 1985, Austin E. Quigley takes as his paradigm case the relationship between the world of the stage and the world of the audience, and explores various modes of communication between domains. He asks how changes in the structure of the drama relate to changes in the structure of the theatre, and changes in the role of the audience. Detailed interpretations of plays by Pinero, Ibsen, Strindberg, Brecht, Ionesco, Beckett and Pinter question principles about the modern theatre and establish links between drama structure and theatre structure, theme, and performance space.

The $22 trillion opportunity that can be unlocked only if you rethink everything you think you know about people over sixty. In the time it takes you to read this, another twenty Americans will turn sixty-five. Ten thousand people a day are crossing that threshold, and that number will continue to grow. In fifteen years, Americans aged sixty-five and over will outnumber those under age eighteen. Nearly everywhere in the world, people over sixty are the fastest-growing age group. Longevity presents an opportunity that companies need to develop a strategy for. Estimates put the global market for this demographic at a whopping $22 trillion across every industry you can imagine. Entertainment, travel, education, health care, housing, transportation, consumer goods and services, product design, tech, financial services, and many others will benefit, but only if marketers unlearn what they think they know about this growing population. The key is to stop thinking of older adults as one market. Stage (Not Age) is the concise guide to helping companies understand that people over sixty are a deeply diverse population. They're traveling through different life stages and therefore want and need different products and services. This book helps you reset your understanding of what an "old person" is. It demonstrates how three people, all seventy years old, may not even be in the same market segment. It identifies the systemic barriers to entering this market and provides ways to overcome them. And it shares the best practices of companies that have successfully shifted to a Stage (Not Age) mentality. This practical guide prepares companies and marketers for an inevitable shift they can't ignore.

Chronicles the relationship between Li'l Bit and Uncle Peck through a series of flashbacks as it progresses from friendship to something darker during a series of driving lessons.