- Table View
- List View
Square Root of Love (Off-off Broadway Festival Plays Ser.)
by Daniel Meltzer4 Simple Interiors / This full length evening portrays four preludes to love from youth to old age, from innocence to maturity. It is best when played by a single actor and actress. In The Square Root of Love, two genius level college students discover that Man or Woman does not live by intellectual pursuits alone. A Good Time for a Change finds a successful executive and her handsome young male secretary ready to make a change. The Battling Brinkmires are George and Marsha Brinkmire, a middle aged couple who have come to Haiti to get a "quickie" divorce. This one has a surprise ending. In Waiting for to Go, we are on a jet waiting to take off for Florida. He's a retired plumbing contractor who thinks his life is over she's a recent widow returning to her home in Hallandale. The play, and the evening ends with a beginning. This Off Off Broadway success requires only minimal settings.
The Square Root of Possible: A Jingle Jangle Story
by Lyn Sisson-Talbert David E. TalbertA charming picture book story based on the Netflix holiday film Jingle Jangle, starring Phylicia Rashad, Forrest Whitaker, Anika Noni Rose, Keegan Michael Key, and newcomer Madalen Mills, about an eccentric toymaker, his adventurous granddaughter, and a magical invention, that if they can get it to work in time for the holidays, could change their lives forever.A heartwarming picture book story based on the song "The Square Root of Possible" from the Netflix holiday film Jingle Jangle: A Christmas Journey! A holiday tale set in the snow-covered town of Cobbleton, Jingle Jangle follows eccentric toymaker Jeronicus Jangle (Academy Award winner Forest Whitaker) whose fanciful inventions burst with whimsy and wonder. But when a betrayal by a former protégé (Keegan-Michael Key) leaves Jeronicus withdrawn and down on his luck, it's up to his bright and adventurous granddaughter, Journey (newcomer Madalen Mills) -- and a singularly magical invention -- to save the day. From the imagination of writer/director David E. Talbert and featuring original music by John Legend, Philip Lawrence, and Davy Nathan, Jingle Jangle reminds you that anything is possible...if you believe.
Squawk
by Megan Gail ColesAnnie Runningbird doesn’t have time for the games boys want her to play. She’s aging out of foster care on her next birthday. The system has decided she is an adult, so Annie must make adult decisions. Where will she live? How will she make money? Demanding grown-up choices preoccupy the young girl’s mind as she navigates relationships with boys and men in her company. Does she like Isaac, a cute yet naive boy she met at the mall food court? Can she trust Louis, her older and increasingly overbearing foster care worker? Who can Annie depend on in her ever-shifting world? This intel is important. Because Annie needs to win the very real game she’s playing. She must save herself to save the day.
Squirrel on Stage (Twitch the Squirrel)
by Vivian Vande VeldeTwitch the lovably chaotic squirrel and Sweetie the Library Rat accidentally make their stage debuts in this hilarious chapter book, a new followup to 8 Class Pets.When Twitch discovers the kids at school are putting on a Cinderella play, he can&’t believe his luck. He loves good stories! But how to watch the play undetected? He convinces friend Sweetie the library rat to join his adventure to the auditorium, but of course it doesn&’t go as planned! Twitch and Sweetie will go behind the curtain and even above stage before the day is over in this fourth book in the celebrated series.With energetic illustrations accompanying the short, hilarious chapters, told from Twitch and Sweetie&’s alternating points of view, Squirrel on Stage is a perfect pick for young readers just starting to seek out longer texts—or a great read-aloud. For aspiring thespians, Squirrel on Stage also includes tips kids can use to put on their own play.
St. Francis of Millbrook
by Sky GilbertBeing a teenager is hard, especially if you're questioning your sexuality and growing up in rural Ontario in the mid '90s. Add to that a temperamental, homophobic father and a tenacious love for Madonna, and it's almost unbearable. Despite it all, Luke loves working on the family farm, and at least he has the support of a group of local outsiders who invite him into their circle.
St George and the Dragon (The Faerie Queene #Book 1)
by Edmund SpenserThis vibrant new prose version faithfully adheres to the story of St George and the Dragon, and captures Spenser's rich language, tone and vigor. It strikes a skillful balance between faithfulness and fluency, without omitting or dumping down any details. It is Spenser's The Faerie Queene, Book One, in its entirety.
The St. Leonard Chronicles
by Steve GalluccioFrom the award-winning author of stage hits Mambo Italiano and In Piazza San Domenico comes a delicious, saucy new comedy about Terry and Robert, a young couple with roots in the Italian neighbourhood of St. Leonard in Montreal. The couple's newly renovated duplex has barely a hint of gilded rococo - not just a cultural infraction, but also an ominous sign that all is not as it should be. Eager to break free of family ties that are bound too tight, Terry and Robert announce they're moving to the affluent anglophone suburb of Beaconsfield - tantamount to committing a mortal sin in the eyes of their more traditional Italian relatives. When they confess their plans to their parents over dinner one night, floodgates open to other unspoken desires and revelations, turning conservative St. Leonard values upside down.The St. Leonard Chronicles opened the 2013-14 season at Montreal's venerable Centaur Theatre and sold out before its run. The play was extended and went on to sell more than twenty thousand tickets. The French version of the Chronicles, translated by Galluccio himself, premieres at Theâtre Jean Duceppe in Montreal in December 2014 and then in 2015 embarks on a twenty-four-city tour.Cast of 4 women and 3 men.
Stage and Picture in the English Renaissance: The Mirror up to Nature
by John H. AstingtonThis book presents a new approach to the relationship between traditional pictorial arts and the theatre in Renaissance England. Demonstrating the range of visual culture in evidence from the mid-sixteenth to mid-seventeenth century, from the grandeur of court murals to the cheap amusement of woodcut prints, John H. Astington shows how English drama drew heavily on this imagery to stimulate the imagination of the audience. He analyses the intersection of the theatrical and the visual through such topics as Shakespeare's Roman plays and the contemporary interest in Roman architecture and sculpture; the central myth of Troy and its widely recognised iconography; scriptural drama and biblical illustration; and the emblem of the theatre itself. The book demonstrates how the art that surrounded Shakespeare and his contemporaries had a profound influence on the ways in which theatre was produced and received.
The Stage and Social Struggle in Early Modern England
by Jean E. HowardThe Stage and Social Struggle in Early Modern England is a ground-breaking study of a controversial period of English literary, cultural, and political history. In language that is both lucid and theoretically sophisticated, Jean Howard examines the social and cultural facets of early modern theatre. She looks at the ways in which some theatrical practices were deemed deceptive and unreliable, while others were lent legitimacy by the powerful. An exciting and challenging work by one of the leading writers in the field, The Stage and Social Conflict in Early Modern England is important reading for anyone interested in the period.
The Stage and the Page: London's Whole Show in the Eighteenth-Century Theatre (Clark Library Professorship, UCLA #6)
by Geo. Winchester StoneThis title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1981.
The Stage and the School
by Harry H. Schanker Katharine Anne OmmanneyThe Stage and the School offers more of what you've always loved about the nation's most comprehensive high school drama program. More hands-on exercises. More teacher support. More discussion of the conventions of the theatre. More opportunities to creative expression through performance. More connections to the other arts. With all the hands-on exercises and application activities, scenes and monologues, chapter openers and reviews, students are provided with every opportunity for success.
The Stage and the School, Ninth Edition
by Harry H. Schanker Katharine Anne OmmanneyThe Stage and the School provides students and teachers with the tools needed to build key theater arts skills. Students receive instruction in classic training exercises, production techniques, and theater conventions. Skills are developed through lessons that help students draw on their personal experiences and build historical and cultural background knowledge.
Stage Business and the Neoliberal Theatre of London (Contemporary Performance InterActions)
by Alex FerroneThis book examines contemporary English drama and its relation to the neoliberal consensus that has dominated British policy since 1979. The London stage has emerged as a key site in Britain’s reckoning with neoliberalism. On one hand, many playwrights have denounced the acquisitive values of unfettered global capitalism; on the other, plays have more readily revealed themselves as products of the very market economy they critique, their production histories and formal innovations uncomfortably reproducing the strategies and practices of neoliberal labour markets. Stage Business and the Neoliberal Theatre of London thus arrives at a usefully ambivalent political position, one that praises the political power of the theatre – its potential as a form of resistance to the neoliberal rationality that rides roughshod over democratic values – while simultaneously attending to the institutional bondage that constrains it. For, of course, the theatre itself everywhere straddles the line of capitulating to the marketization of our cultural life.
Stage Designers in Early Twentieth-Century America: Artists, Activists, Cultural Critics (Palgrave Studies in Theatre and Performance History)
by E. EssinBy casting designers as authors, cultural critics, activists, entrepreneurs, and global cartographers, Essin tells a story about scenic images on the page, stage, and beyond that helped American audiences see the everyday landscapes and exotic destinations from a modern perspective.
Stage Directing: The First Experiences
by Jim PattersonStage Directing: The First Experiences is a how-to manual aimed at introducing beginning stage directors to the art and craft of directing. Written for the introductory directing course, Stage Directing is organized around the six basic steps that all successful directors use: selecting the playscript, analyzing and researching the play, conceiving the production, casting, rehearsing, and finally giving and receiving criticism. <p><p>One reviewer praised the natural order of the material, the light and engaging style of the writing, the online reference material, and the generally accepted approach to directing re-examined in a fresh voice (Don Sandley, Samford University).
Stage Directing: A Director's Itinerary
by Mr. Michael WainsteinIn Stage Directing: A Director's Itinerary, the student of theatrical directing will find a step-by-step guide to directing a production, from choosing a play to opening night. Unlike other directing textbooks, it provides practical advice on organizing tasks throughout the directorial process, including budgeting, writing casting notices, and auditioning. It moreover includes an abundance of helpful examples and tried-and-true exercises, as well as information on how to organize a director’s documents into a production notebook. The second edition builds on the strengths of the first edition by elaborating on key analytical, organizational, and strategic steps in a successful director’s itinerary, with special attention to the direction of musicals.
The Stage Director’s Prompt Book: A Guide to Creating and Using the Stage Director’s Most Powerful Rehearsal and Production Tool
by Leslie FerreiraThe Stage Director’s Prompt Book is a step-by-step, detailed guide on how to create a practical and powerful rehearsal and performance tool—the director’s prompt book. A prompt book is a coordinating and organizational tool for the stage director. This book systematizes the creative process the director uses to analyze and interpret a play and coordinates all director-related rehearsal and production activities into a single, self-contained interpretive and organizational system. This book guides the director through the necessary steps and stages of creating and using a prompt book—from play analysis and interpretation, through the formation of a dynamic and theatrical director’s vision, to a unique method of physicalizing a play in production. A prompt book of a one-act play is included in the book as a complete example of the system. Such techniques as redlining, color coding and creating a three-column left-hand page are vividly illustrated for readers, allowing them to assemble their own prompt books. In a clear and example-driven format, The Stage Director’s Prompt Book offers a system of directorial interpretation that takes the director through a series of point-by point instructions to construct a strong, effective and creative instrument for success. For the undergraduate and graduate student of theatre directing, stage management and producing courses, along with aspiring professional directors, this book provides an interactive and intuitive approach to personalize the stage directing experience and assemble a graphically dynamic and creative director’s prompt book.
A Stage for Debate: The Political Significance of Vienna’s Burgtheater, 1814–1867 (German and European Studies #49)
by Martin WagnerA Stage for Debate presents a detailed analysis of the repertoire of the leading German-language stage of the nineteenth century, Vienna’s Burgtheater. The book explores the extent to which the Burgtheater repertoire contributed to important political and cultural debates on individual liberty, the role of women in society, and the understanding of national and regional identity. The relevance of the Burgtheater as a forum for political debate is assessed not by the degree to which the performed plays transgressed established norms, but by the range of positions that were voiced on a given topic. Martin Wagner investigates the roughly 1,000 plays from across Europe that were introduced to the Burgtheater’s repertoire between 1814 and 1867 by combining a general overview with detailed interpretations of especially successful plays. Wagner reveals that the Burgtheater was significantly more involved in contemporary debates than the stereotype of this stage as an artistically refined but apolitical institution suggests. Drawing from theatre studies and German and Austrian studies more broadly, A Stage for Debate revises the history of one of Europe’s leading theatres.
Stage Fright (Allie Finkle's Rules For Girls #4)
by Meg CabotThe fourth grade puts on a play written by Mrs. Hunter! Allie is sure she will walk away with the most coveted role that of the princess, naturally -- but one of her friends gets the part! What Allie doesn't realize is that the part she does get -- that of the evil queen -- is actually the starring role. But Allie isn't content with just starring in the play. She goes full-on method and borrows some false eyelashes to wear for the play, which causes a great deal of excited controversy. Allie learns it's not the size of the part, it's the size of the heart that matters.
Stage Fright: Its Role In Acting
by Ann M. MartinCan Sara overcome her shyness to perform in the school play? Sara is extremely timid—she only has two friends, and one of them is her cousin. Her mother is constantly pushing her to leave the safety of her room and be more social, but for Sara, being in public is a punishment worse than death.When Sara&’s teacher insists that everyone this year—shy or not—participate in the school play, Sara is filled with terror. To top it off, she finds out her best friend, the one person who understands her, might be moving away. More than ever, Sara wants to climb into her shell, but the play is looming and there&’s no place to hide.This ebook features an illustrated personal history of Ann M. Martin, including rare images from the author&’s collection.
Stage Fright
by Ann M. MartinCan Sara overcome her shyness to perform in the school play? Sara is extremely timid—she only has two friends, and one of them is her cousin. Her mother is constantly pushing her to leave the safety of her room and be more social, but for Sara, being in public is a punishment worse than death.When Sara&’s teacher insists that everyone this year—shy or not—participate in the school play, Sara is filled with terror. To top it off, she finds out her best friend, the one person who understands her, might be moving away. More than ever, Sara wants to climb into her shell, but the play is looming and there&’s no place to hide.This ebook features an illustrated personal history of Ann M. Martin, including rare images from the author&’s collection.
Stage Fright: Modernism, Anti-Theatricality, and Drama
by Martin PuchnerGrounded equally in discussions of theater history, literary genre, and theory, Martin Puchner's Stage Fright: Modernism, Anti-Theatricality, and Drama explores the conflict between avant-garde theater and modernism. While the avant-garde celebrated all things theatrical, a dominant strain of modernism tended to define itself against the theater, valuing lyric poetry and the novel instead. Defenders of the theater dismiss modernism's aversion to the stage and its mimicking actors as one more form of the old "anti-theatrical" prejudice. But Puchner shows that modernism's ambivalence about the theater was shared even by playwrights and directors and thus was a productive force responsible for some of the greatest achievements in dramatic literature and theater.A reaction to the aggressive theatricality of Wagner and his followers, the modernist backlash against the theater led to the peculiar genre of the closet drama—a theatrical piece intended to be read rather than staged—whose long-overlooked significance Puchner traces from the theatrical texts of Mallarmé and Stein to the dramatic "Circe" chapter of Joyce's Ulysses. At times, then, the anti-theatrical impulse leads to a withdrawal from the theater. At other times, however, it returns to the stage, when Yeats blends lyric poetry with Japanese Nôh dancers, when Brecht controls the stage with novelistic techniques, and when Beckett buries his actors in barrels and behind obsessive stage directions. The modernist theater thus owes much to the closet drama whose literary strategies it blends with a new mise en scène. While offering an alternative history of modernist theater and literature, Puchner also provides a new account of the contradictory forces within modernism.
Stage Fright in the Actor
by Linda BrennanStage Fright in the Actor explores the phenomena of stage fright—a universal experience that ranges in intensity from a relatively easy-to-conceal sense of anxiety to an overwhelming feeling of terror—from the actor’s perspective, unearthing its social, cultural, and personal roots. Drawing on her experience as both an actor trainer and a licensed psychotherapist, Linda Brennan recounts the testimonies of professional actors to paint a clear picture of the artistic, behavioral, cognitive, physiological, and psychological characteristics of stage fright. This book encourages the reader to reflect on their own experiences while guided by the stories of fellow actors. Their personal accounts, combined with clinical research and practical exercises, will help readers to identify, manage, and even conquer this "demon in the wings." Stage Fright in the Actor is an essential tool for actors and acting students. Its insight into the many manifestations of stage fright also renders it as valuable reading for acting/performing arts teachers and directors, as well as anyone who fears stepping "onstage."
Stage Kiss
by Sarah Ruhl"Wickedly clever . . . Ruhl's unique, breezily elegant dialogue is fully present, as is her pleasingly loopy logic."-Variety"In the smart, rollicking Stage Kiss . . . passion and fidelity engage in a kind of elegant pas de deux. . . . The play manages to be both wholly original and instantly recognizable . . . with its combination of hilarity and trenchancy."-The New YorkerAward-winning playwright Sarah Ruhl brings her unique mix of lyricism, sparkling humor, and fierce intelligence to her new romantic comedy, Stage Kiss. When estranged lovers He and She are thrown together as romantic leads in a long-forgotten 1930s melodrama, the line between off-stage and on-stage begins to blur. A "knockabout farce that channels Noël Coward and Michael Frayn" (Chicago Tribune), Stage Kiss is a thoughtful and clever examination of the difference between youthful lust and respectful love. Ruhl, one of America's most frequently produced playwrights, proves that a kiss is not just a kiss in this whirlwind romantic comedy, which will receive its New York premiere at Playwrights Horizons in winter 2014.Sarah Ruhl's other plays include the Pulitzer Prize finalists In the Next Room (or the vibrator play) and The Clean House, as well as Passion Play, Dead Man's Cell Phone, Demeter in the City, Eurydice, Melancholy Play, and Late: a cowboy song. She is the recipient of a Whiting Writers' Award, a PEN/Laura Pels Award, and a MacArthur Fellowship. Her plays have premiered on Broadway, Off-Broadway, and have been produced in many theaters around the world.
The Stage Life of Props
by Andrew SoferInThe Stage Life of Props,Andrew Sofer aims to restore to certain props the performance dimensions that literary critics are trained not to see, then to show that these props are not just accessories, but time machines of the theater. Using case studies that explore the Eucharistic wafer on the medieval stage, the bloody handkerchief on the Elizabethan stage, the skull on the Jacobean stage, the fan on the Restoration and early eighteenth-century stage, and the gun on the modern stage, Andrew Sofer reveals how stage props repeatedly thwart dramatic convention and reinvigorate theatrical practice. While the focus is on specific objects, Sofer also gives us a sweeping history of half a millennium of stage history as seen through the device of the prop, revealing that as material ghosts, stage props are a way for playwrights to animate stage action, question theatrical practice, and revitalize dramatic form. Andrew Sofer is Assistant Professor of English, Boston College. He was previously a stage director.