New Arrivals: PN 1600 - PN 1989.9999
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© 2014,'This is the kind of book that troubles grey-suited committees of academic peers. It's too enjoyable. But that, given its subject, is just what it ought to be, and it treats that subject seriously . . . There isn't a "dull" page anywhere in the book.' ? Professor Peter Thomson, Studies in Theatre and Performance Comedy is changing: stand-up comedians routinely sell out stadia, their audience-figures swollen by panel-show appearances and much-followed Twitter feeds. Meanwhile, the smaller clubs are filling up, with audiences as well as aspirants. How can we make sense of it all? This new edition of Getting the Joke gives an insider's look at the spectrum of modern comedy, re-examining the world of stand-up in the internet age. Drawing on his acclaimed first edition, Oliver Double focuses in greater detail on the US scene and its comedians (such as David Cross, Sarah Silverman, Louis CK, Demetri Martin and Margaret Cho); the 'DIY' comedy circuit and its celebrated apostles and visionaries, from Josie Long to Stewart Lee; the growing importance of the solo stand-up show; the role played by Twitter (including an interview with the organiser of the world's first comedy gig on Twitter), and the driving force that is the TV guest slot, be it on Mock the Week or Live at the Apollo . With expanded sections on joke construction, as well as ways to challenge the audience, and a host of new and updated exercises to guide the aspiring comedian, this new edition of Getting the Joke is the only book to combine the history of stand-up comedy with an analysis of the elements and methods that go into its creation. Featuring a range of interviews with working comedians ? from circuit veterans to new kids on the block ? combined with the author's vast experience, this is a must read for any aspiring stand-up comedian. -
© 2014,(Applause Books). 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.
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© 2014,Dorothy Parker holds a place in history as one of New York's most beloved writers. Now, for the first time in nearly a century, the public is invited to enjoy Mrs. Parker's sharp wit and biting commentary on the Jazz Age hits and flops in this first-ever published collection of her groundbreaking Broadway reviews. Starting when she was twenty-four at Vanity Fair as New York's only female theatre critic, Mrs. Parker reviewed some of the biggest names of the era: the Barrymores, George M. Cohan, W.C. Fields, Helen Hayes, Al Jolson, Eugene O'Neil, Will Rogers, and the Ziegfeld Follies. Her words of praise--and contempt--for the dramas, comedies, musicals, and revues are just as fresh and funny today as they were in the age of speakeasies and bathtub gin. Annotated with a notes section by Kevin C. Fitzpatrick, president of the Dorothy Parker Society, the volume shares Parker's outspoken opinions of a great era of live theatre in America, from a time before radio, talking pictures, and television decimated attendance. Dorothy Parker: Complete Broadway, 1918--1923 provides a fascinating glimpse of Broadway in its Golden Era and literary life in New York through the eyes of a renowned theatre critic.
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© 2010,"Few books blend the critical and creative approaches to drag performance this provocatively and engagingly, and none provides both the historical and the personal perspectives so effectively. Torr and Bottoms fundamentally challenge many long-standing ideas about drag kings and the performance of masculinity." ---Sarah Bay-Cheng, University at Buffalo "This book brings the reader inside an artist's creative imagination and intellect, showing us Diane Torr's work in a detailed, thoughtful, and engaging way. We discover how Torr uses different physical disciplines to explore how gender is constructed, interpreted, and expressed. Along the way---by taking us into various venues in which she performed---she evokes the lively, dynamic scene in New York in the '80s and '90s." ---Alisa Solomon, Columbia University Why would women want to perform as men? Why is gender crossing so compelling, whether it happens onstage or in everyday life? What can drag performance teach, and what aesthetic, political, and personal questions does it raise? Performance artist Diane Torr has been experimenting with the performance of gender for thirty years---exploring everything from feminist go-go dancing to masculine power play. One of the key pioneers of "drag king" performance, Torr has been celebrated internationally for her gender transformation workshops, in which she has taught hundreds of ordinary women how to pass as men on city streets around the world. This cultural subterfuge appeals to participants for many different reasons: personal confidence-building, sexual frisson, gender subversion, trans-curiosity, or simply the appeal of disguise and role play. Sex, Drag, and Male Roles documents the evolution of Torr's work by blending first-person memoir and commentary from Torr with critical reflections and contextualization from leading performance critic Stephen J. Bottoms. The book includes a consideration of the long cultural history of female-to-male cross-dressing and concludes with Torr's "Do-It-Yourself" guide to becoming a "Man for a Day." Diane Torr developed her cross-disciplinary art in the downtown New York art scene from 1976 to 2002. Now living in Scotland, Torr has earned an international reputation for her performances and gender transformation workshops (featured on HBO, BBC, and This American Life on NPR, among others). Her work is the focus of a feature film, Man for a Day. nbsp; Stephen J. Bottoms is Wole Soyinka Professor of Drama and Theatre Studies at the University of Leeds. His books include Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement and Small Acts of Repair: Performance, Ecology, and Goat Island . Cover: Diane Torr walks the streets of London, 1995. Photo by Debbie Humphreys.
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© 2015,Michael Y. Bennett's accessible Introduction explains the complex, multidimensional nature of the works and writers associated with the absurd - a label placed upon a number of writers who revolted against traditional theatre and literature in both similar and widely different ways. Setting the movement in its historical, intellectual and cultural contexts, Bennett provides an in-depth overview of absurdism and its key figures in theatre and literature, from Samuel Beckett and Harold Pinter to Tom Stoppard. Chapters reveal the movement's origins, development and present-day influence upon popular culture around the world, employing the latest research to this often challenging area of study in a balanced and authoritative approach. Essential reading for students of literature and theatre, this book provides the necessary tools to interpret and develop the study of a movement associated with some of the twentieth century's greatest and most influential cultural figures.
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© 2010,Exploring a range of topics, including Greek tragedy, Shakespearean theater, contemporary British plays, opera, and the theatricality of Parisian culture, this compilation provides new perspectives on the relationship between Eros and Death in a series of dramatic texts, theatrical practices, and cultural performances. Detailed and analytical, these informative essays demonstrate how changing attitudes towards sexuality and death--opposed but entangled passions--were reflected in theater throughout the course of history. Psychoanalytical and philosophical models are also referenced in this work that features essays from dramatists Dic Edwards, David Ian Rabey, and David Rudkin.
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© 2012,Theatre critic Roger Foss embarks on a lightning tour of the rib-tickling world of confused characters, absurd situations, ruined reputations, sexual innuendo and bravura comic acting and finds out if farce really is a force to be reckoned with in the 21st century. The latest addition to the Oberon Masters series.
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© 2014,In A Vulgar Art Ian Brodie uses a folkloristic approach to stand-up comedy, engaging the discipline's central method of studying interpersonal, artistic communication and performance. Because stand-up comedy is a rather broad category, people who study it often begin by relating it to something they recognize--"literature" or "theatre"; "editorial" or "morality"--and analyze it accordingly. A Vulgar Art begins with a more fundamental observation: someone is standing in front of a group of people, talking to them directly, and trying to make them laugh. So this book takes the moment of performance as its focus, that stand-up comedy is a collaborative act between the comedian and the audience. Although the form of talk on the stage resembles talk among friends and intimates in social settings, stand-up comedy remains a profession. As such, it requires performance outside of the comedian's own community to gain larger and larger audiences. How do comedians recreate that atmosphere of intimacy in a roomful of strangers? This book regards everything from microphones to clothing and LPs to Twitter as strategies for bridging the spatial, temporal, and socio-cultural distances between the performer and the audience.
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© 2014,What makes tragedy tragic? What makes comedy comic? What does Much Ado About Nothing have in common with When Harry Met Sally ? Seneca with Desperate Housewives ? Goldoni with Frasier ? In Genre: A Guide to Writing for Stage and Screen Andrew Tidmarsh explores these questions and more. Investigating how the relationship between form and content brings endless discoveries and illuminations about how narrative works, this entertaining and accessible book looks at how storytelling in film and theatre has evolved and how an appreciation of form can bring the writer, director or actor a solid foundation and a sense of security, which ultimately assists the creative process. Including genre-specific exercises in every chapter helping the reader to write and devise, Genre: A Guide to Writing for Stage and Screen is for all those with an interest in story and can be used by writers, actors and directors alike ? whether students or experienced professionals ? to make the blank page appear less terrifying.
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© 2015,Jim Henson s creations have inspired generations with characters that are among the world s most recognizable cultural icons. From Kermit the Frog, Miss Piggy and their Muppet friends to the legendary Sesame Street and Children s Television Workshop, Henson revolutionized children s educational entertainment. Combining live action and puppeteering into fantastical narratives like The Dark Crystal and Labyrinth, as well as the whimsical Fraggle Rock and The Storyteller, Henson transformed imagination into reality, weaving together powerful philosophical messages on identity, community, diversity, love, death, and friendship. Henson never shied away from exploring deep questions, nor did he underestimate the ability of children (or adults) to grapple with profound philosophical questions. Jim Henson and Philosophy explores the entertaining and educational world of the genius s creations, revealing what it is about Henson s world that has touched us so deeply and improved our lives in such meaningful ways. Contributions by: Lauren Ashwell, Kimberly Baltzer-Jaray, David R. Burns, Samantha Brennan, Amanda Cawston, Brooke Covington, Christopher M. Culp, Ryan Cox, Natalie M. Fletcher, Victoria Hubbell, Dena Hurst, Christopher Ketcham, S. Evan Kreider, Shaun Leonard, Jennifer Marra, Michael J. Muniz, Laurel Ralston, Rhona Trauvitch, and Sheryl Tuttle Ross"
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© 2015,NEW YORK TIMES BESTSELLER From the writer and director of Knocked Up and the producer of Freaks and Geeks comes a collection of intimate, hilarious conversations with the biggest names in comedy from the past thirty years--including Mel Brooks, Jerry Seinfeld, Jon Stewart, Roseanne Barr, Harold Ramis, Louis C.K., Chris Rock, and Lena Dunham. Before becoming one of the most successful filmmakers in Hollywood, Judd Apatow was the original comedy nerd. At fifteen, he took a job washing dishes in a local comedy club--just so he could watch endless stand-up for free. At sixteen, he was hosting a show for his local high school radio station in Syosset, Long Island--a show that consisted of Q&As with his comedy heroes, from Garry Shandling to Jerry Seinfeld. They talked about their careers, the science of a good joke, and their dreams of future glory (turns out, Shandling was interested in having his own TV show one day and Steve Allen had already invented everything). Thirty years later, Apatow is still that same comedy nerd--and he's still interviewing funny people about why they do what they do. Sick in the Head gathers Apatow's most memorable and revealing conversations into one hilarious, wide-ranging, and incredibly candid collection that spans not only his career but his entire adult life. Here are the comedy legends who inspired and shaped him, from Mel Brooks to Steve Martin. Here are the contemporaries he grew up with in Hollywood, from Spike Jonze to Sarah Silverman. And here, finally, are the brightest stars in comedy today, many of whom Apatow has been fortunate to work with, from Seth Rogen to Amy Schumer. And along the way, something kind of magical happens: What started as a lifetime's worth of conversations about comedy becomes something else entirely. It becomes an exploration of creativity, ambition, neediness, generosity, spirituality, and the joy that comes from making people laugh. Loaded with the kind of back-of-the-club stories that comics tell one another when no one else is watching, this fascinating, personal (and borderline-obsessive) book is Judd Apatow's gift to comedy nerds everywhere. Praise for Sick in the Head "Open this book anywhere, and you're bound to find some interesting nugget from someone who has had you in stitches many, many times." --Janet Maslin, The New York Times "Incandescent . . . an irresistible, ultimate-insider's comedy-interview extravaganza . . . Apatow never loses his unabashed fan's enthusiasm even as he asks canny questions that yield superbly illuminating conversations rich in shop talk and musings on the lure, demands, and resonance of comedy." -- Booklist (starred review) "If Apatow's gift for comedy is a sickness, may he never be cured." -- Playboy "Sprawling and insightful . . . The candidness of the interviews also exposes the peculiar community of comedians with anecdotes and cameos unlikely to be heard elsewhere. A delightful and hilarious read." -- Kirkus Reviews "These are wonderful, expansive interviews--at times brutal, at times breathtaking--with artists whose wit, intelligence, gaze, and insights are all sharp enough to draw blood." --Michael Chabon "Anyone even remotely interested in comedy or humanity should own this book. It is hilarious and informative and it contains insightful interviews with the greatest comics, comedians, and comediennes of our time. My representatives assure me I will appear in a future edition." --Will Ferrell
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© 2015,NEW YORK TIMES BESTSELLER From the writer and director of Knocked Up and the producer of Freaks and Geeks comes a collection of intimate, hilarious conversations with the biggest names in comedy from the past thirty years--including Mel Brooks, Jerry Seinfeld, Jon Stewart, Roseanne Barr, Harold Ramis, Louis C.K., Chris Rock, and Lena Dunham. Before becoming one of the most successful filmmakers in Hollywood, Judd Apatow was the original comedy nerd. At fifteen, he took a job washing dishes in a local comedy club--just so he could watch endless stand-up for free. At sixteen, he was hosting a show for his local high school radio station in Syosset, Long Island--a show that consisted of Q&As with his comedy heroes, from Garry Shandling to Jerry Seinfeld. They talked about their careers, the science of a good joke, and their dreams of future glory (turns out, Shandling was interested in having his own TV show one day and Steve Allen had already invented everything). Thirty years later, Apatow is still that same comedy nerd--and he's still interviewing funny people about why they do what they do. Sick in the Head gathers Apatow's most memorable and revealing conversations into one hilarious, wide-ranging, and incredibly candid collection that spans not only his career but his entire adult life. Here are the comedy legends who inspired and shaped him, from Mel Brooks to Steve Martin. Here are the contemporaries he grew up with in Hollywood, from Spike Jonze to Sarah Silverman. And here, finally, are the brightest stars in comedy today, many of whom Apatow has been fortunate to work with, from Seth Rogen to Amy Schumer. And along the way, something kind of magical happens: What started as a lifetime's worth of conversations about comedy becomes something else entirely. It becomes an exploration of creativity, ambition, neediness, generosity, spirituality, and the joy that comes from making people laugh. Loaded with the kind of back-of-the-club stories that comics tell one another when no one else is watching, this fascinating, personal (and borderline-obsessive) book is Judd Apatow's gift to comedy nerds everywhere. Praise for Sick in the Head "Open this book anywhere, and you're bound to find some interesting nugget from someone who has had you in stitches many, many times." --Janet Maslin, The New York Times "Incandescent . . . an irresistible, ultimate-insider's comedy-interview extravaganza . . . Apatow never loses his unabashed fan's enthusiasm even as he asks canny questions that yield superbly illuminating conversations rich in shop talk and musings on the lure, demands, and resonance of comedy." -- Booklist (starred review) "If Apatow's gift for comedy is a sickness, may he never be cured." -- Playboy "Sprawling and insightful . . . The candidness of the interviews also exposes the peculiar community of comedians with anecdotes and cameos unlikely to be heard elsewhere. A delightful and hilarious read." -- Kirkus Reviews "These are wonderful, expansive interviews--at times brutal, at times breathtaking--with artists whose wit, intelligence, gaze, and insights are all sharp enough to draw blood." --Michael Chabon "Anyone even remotely interested in comedy or humanity should own this book. It is hilarious and informative and it contains insightful interviews with the greatest comics, comedians, and comediennes of our time. My representatives assure me I will appear in a future edition." --Will Ferrell
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© 2015,Replay: Classic Modern Drama Reimagined spans over a century of great theatre to explore how iconic plays have been adapted and versioned by later writers to reflect or dissect the contemporary zeitgeist.Starting with A Doll's House , Ibsen's much-reprised masterpiece of marital relations from 1879, Toby Zinman explores what made the play so controversial and shocking in its day before tracing how later reimaginings have reworked Ibsen's original. The spine of plays then includes such landmark works as Strindberg's Miss Julie , Oscar Wilde's comic The Importance of Being Earnest , Chekhov's Three Sisters and Uncle Vanya , Hansberry's A Raisin in the Sun , the Rattigan centenary revivals, Thornton Wilder's Our Town , ultimately arriving at Beckett's Waiting for Godot . Taking each modern play as the starting point, Zinman explores the diverse renderings and reworkings by subsequent playwrights and artists -including prominent directors and their controversial productions as well as acknowledging reworkings in film, opera and ballet.Through the course of this groundbreaking study we discover not only how theatrical styles have changed but how society's attitude towards politics, religion, money, gender, sexuality and race have radically altered over the course of the century. In turn Replay reveals how theatre can serve as both a reflection of our times and a provocation to them.
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© 2012,First Published in 2012. Routledge is an imprint of Taylor & Francis, an informa company. -
© 2013,A practical investigation into story-theatre and the art of telling stories through theatre, by the renowned director who founded Shared Experience Theatre Company. In Then What Happens? , Mike Alfreds makes the case for putting story and storytelling back at the heart of theatre. He explores the whole process of adapting for the stage, and investigates the particular techniques - many of them highly sophisticated - that actors require when performing 'story-theatre'. The book includes over two hundred exercises, improvisations and workshops dealing with the practical aspects of story-theatre, such as building an ensemble, creating a physical vocabulary, and transforming written narrative into drama. It draws on examples ranging from traditional legends and folklore, through the works of Jane Austen, Charles Dickens and Evelyn Waugh, to contemporary fiction. Alfreds shows how each story demands its own particular set of dramatic choices, opening up endless possibilities for performance. Then What Happens? - like the author's tremendously successful first book, Different Every Night - will be invaluable to directors and actors, to dramatists working in the field of adaptation, to those devising and working from improvisation, and to any theatregoer who has been moved by the power of an unfolding story to ask: 'Then what happens?' "All theatre directors know that good narrative is the secret of good theatre, but few have as distinctive, rigorous and exceptional a method of exploring that secret as does Mike Alfreds. His system of working, and his thoughts on the making of theatre in our time, are as crucial and illuminating as those of Stanislavsky and Peter Brook have been to generations of theatre enthusiasts and practitioners." - Michael Coveney "Both fascinating and instructive for the general reader as well as practitioners... will prove invaluable to directors, actors and even designers and choreographers... a must have." - British Theatre Guide "Alfreds' substantial book provides a fascinating insight into [his approach], which has been adopted by many other directors and companies since the 1970s. ... This is an ideal read for anyone who is keen to put storytelling at the heart of performance." - Drama Resource "Comprehensive, rigorous and practical... a heavyweight book from a heavyweight author." - Theatre in Wales "Practical and thorough... a very useful book for playwrights and directors." - The Stage Mike Alfreds has been directing plays for more than fifty years. In the 1970s he founded Shared Experience, and has since worked for the National Theatre, Shakespeare's Globe, the Royal Shakespeare Company and also extensively abroad. He is hugely respected within the profession. His book, Different Every Night , also published by Nick Hern Books, describes his approach to theatre and some of his rehearsal processes when working on plays. -
© 2013,To consider comedy in its many incarnations is to raise diverse but related questions: what, for instance, is humour, and how may it be used (or abused)? When do we laugh, and why? What is it that writers and speakers enjoy - and risk - when they tell a joke, indulge in bathos, talk nonsense,or encourage irony? This Very Short Introduction explores comedy both as a literary genre, and as a range of non-literary phenomena, experiences and events. Matthew Bevis studies the classics of comic drama, prose fiction and poetry, alongside forms of pantomime, comic opera, silent cinema, popular music, Broadwayshows, music-hall, stand-up and circus acts, rom-coms, sketch shows, sit-coms, caricatures, and cartoons. Taking in scenes from Aristophanes to The Office, from the Roman Saturnalia to Groundhog Day, Bevis also considers comic theory from Aristotle to Freud and beyond, tracing how comic achievements have resisted as well as confirmed theory across the ages. This book takes comedy seriously without taking it solemnly, and offers an engaging study of the comic spirit which lies at the heart of our shared social and cultural life. -
© 2013,Burlesque was one of America's most popular forms of live entertainment in the first half of the 20th century. Gaudy, bawdy, and spectacular, the shows entertained thousands of paying customers every night of the week. And yet the legacy of burlesque -
© 2014,Script Analysis for Actors, Directors, and Designers teaches the skills of script analysis using a formalist approach that examines the written part of a play to gauge how the play should be performed and designed. Treatments of both classic and unconventional plays are combined with clear examples, end-of-chapter questions, and stimulating summaries that will allow actors, directors and designers to immediately incorporate the concepts and processes into their theatre production work. Now thoroughly revised, the fifth edition contains a new section on postmodernism and postdramatic methods of script analysis, along with additional material for designers. -
© 2013,Now in a second edition, Theatre Studies: The Basics is a fully updated guide to the wonderful world of theatre. The practical and theoretical dimensions of theatre - from acting to audience - are woven together throughout to provide an integrated introduction to the study of drama, theatre and performance. Topics covered include: dramatic genres, from tragedy to political documentary theories of performance the history of the theatre in the West acting, directing and scenography With a glossary, chapter summaries and suggestions for further reading throughout, Theatre Studies: the Basics remains the ideal starting point for anyone new to the subject.