Applause Books – serie

Stella Adler was one of the 20th Century's greatest figures. She is arguably the most important teacher of acting in American history. Over her long career, both in New York and Hollywood, she offered her vast acting knowledge to generations of actors, including Marlon Brando, Warren Beatty, and Robert De Niro. The great voice finally ended in the early Nineties, but her decades of experience and teaching have been brilliantly caught and encapsulated by Howard Kissel in the twenty-two lessons in this book.

For decades, Screen World has been the film professional's, as well as the film buff's, favorite and indispensable annual screen resource, full of all the necessary statistics and facts. Now Screen World editor Barry Monush has compiled another comprehensive work for every film lover's library.In the first of two volumes, this book chronicles the careers of every significant film actor, from the earliest silent screen stars – Chaplin, Pickford, Fairbanks – to the mid-1960s, when the old studio and star systems came crashing down.Each listing includes: a brief biography, photos from the famed Screen World archives, with many rare shots; vital statistics; a comprehensive filmography; and an informed, entertaining assessment of each actor's contributions – good or bad!In addition to every major player, Monush includes the legions of unjustly neglected troupers of yesteryear. The result is a rarity: an invaluable reference tool that's as much fun to read as a scandal sheet. It pulsates with all the scandal, glamour, oddity and glory that was the lifeblood of its subjects.Contains over 1 000 photos!

The complete scripts to six Sam Shepard plays: The Unseen Hand • Forensic and the Navigators • The Holy Ghostly • Back Bog Beast Bait • Shaved Splits • 4-H Club.

BEFORE BRECHT: FOUR GERMAN PLAYS CLOTH

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.

“As Greek tragedy ” says a Spanish writer, “was composed from the crumbs that fell from Homer's table, so the Spanish drama owed its earliest forms to La Celestina (1499).”Fernando de Rojas' tragi-comedy – which has also been called “a novel in dialogue” – runs to about three hundred pages in the James Mabbe translation, here adapted to the stage by Eric Bentley in a five-act, 93-page version.The central and pervasive situation is a simple one: a dirty old woman is helping a courtly young gentleman to seduce a girl. The wonder of the thing lies in the art with which Fernando do Rojas derives, from such commonplace materials, a towering tragedy – or rather, tragi-comedy.

The complete play scripts to: The Misanthrope by Moliere, English version by Richard Wilbur; Phaedra by Racine, English version by Robert Lowell; The Cid by Corneille, English version by James Schevill; and Figaro's Marriage by Beaumarchais, English version by Jacques Barzun.

An anthology of four classic Italian plays edited by Eric Bentley. Also includes directorial and technical notes. Includes the title work by Goldoni as well as The King Stag (Gozzi), The Mandrake (Machiavelli), Ruzzante Returns from the Wars (Beolco).

From the origins of the Negro spiritual and the birth of the Harlem Renaissance to the emergence of a national black theatre movement, The Theatre of Black Americans offers a penetrating look at a black art form that has exploded into an American cultural institution. Among the essays: James Hatch – Some African Influences on the Afro-American Theatre; Shelby Steele – Notes on Ritual in the New Black Theatre; Sister M. Francesca Thompson OSF – The Lafayette Players; Ronald Ross – The Role of Blacks in the Federal Theatre.

Introductions, the motion picture treatments, credits and screenplays for these two movies by James Ivory.

The script to the 1966 film by Alain Resnais profiling the effect of the Spanish Civil War on the lives of a group of anti-Franco exiles living in France, and still actively working for the overthrow of the dictatorship. Called an incomparable thriller by some critics, it is also a beautiful love story and a moving document of our time. This volume presents the complete scenario by Jorge Semprun and 114 frame-enlargements from the film itself, carefully keyed to the text.

Harpagon, the most desperate, scheming miser in literature, starves his servants, declines to pay them, cheats his own children if he can save (or make) a few coins, and when his hoard of gold disappears, insanely accuses himself of being the thief. Dandin, in this rousing classic, not previously available in English for sixty years, is a man in a plight that everybody but him will find entertaining.

In one of Molière's most popular plays, Scapin, that monarch of con men, puts his store of ingenuity to work, getting two lovesick young men married to the girls they pine for and, along the way, taking revenge on their grasping old fathers. Closed down after its first, highly successful run because of opposition from powerful enemies of the playwright, Don Juan was performed in a bowdlerized version for almost two hundred years, until actors, directors and critics restored the original text, recognizing it as the most ambitious and mightiest of Molière's prose plays. Bermel's translations of the scripts as presented here have received rave reviews.

Startling discontinuities and surprises erupt throughout these avant-garde landscapes by Poland's outstanding modern dramatist where duchesses and policemen, gangsters and surrealist painters, psychiatrists and locomotive engineers wander in and out, kill one another, and carry on philosophical conversations at the same time.

The rich tapestry of medieval belief, morality, and manners, shines through this comprehensive anthology of the twenty-four major plays that bridge the dramatic worlds of medieval and Tudor England. Here are the plays that paved the way to the Renaissance and Shakespeare. In John Gassner's extensively annotated collection, the plays regain their timeless appeal and display their truly international character and influence.Medieval and Tudor Drama remains the indispensable chronicle of a dramatic heritage – the classical plays of Hrotsvitha, folk and ritual drama, the passion play, the great mortality play Everyman, the Interlude, Tudor comedies Ralph Roister Doister and Gammer Gurton's Needle, and the most famous of Tudor tragedies, Gorboduc. Mr. Gassner's introductions and notes tell a tale of excellence and evolution too easily forgotten. The texts have been modernized for today's readers and those composed in Latin have been translated into English.

Rich anthologies of dramatic art and critical insight – varied, stimulating, broad in its view and deep in its perceptions...exciting variety of translations...enlightening essays from some of the most stiumlating minds of the century.– Leonard C. Pronko, author, Theatre East and West, Chair, Dept. of Theatre, Pomona CollegeIncludes: Aristophanes: Lysistrata, translated by Donald Sutherland; The Birds, translated by Walter Kerr; Menander: The Grouch, translated by Sheila D'Atri; Plautus: The Menaechmi, translated by Palmer Bovie; The Haunted House, translated by Palmer Bovie; Terence: The Self-Tormentor, translated by Palmer Bovie.

Now in paperback, the complete story of the actor's career, including his secret gay life.Raymond Burr (1917-1993) was an enigma. A film noir regular known for his villainous roles in movies like Rear Window, he eventually became one of the most popular stars in television history as the lead actor on two top-rated dramas, Perry Mason and Ironside, which between them ran virtually uninterrupted for 20 years.But Raymond Burr was leading a secret gay life at a time in Hollywood when exposure would have been career suicide. To protect his secret, Burr fabricated a tragic past for himself as a grieving husband and father. He claimed to have been twice widowed – he said his first wife had died in a plane crash, and his second marriage had ended with his wife's early death from cancer. And there was also a dead son – 10-year-old Michael, who lost his battle with leukemia. Neither of the wives nor Michael ever existed. But that didn't stop these lies from being perpetuated again and again, even in Burr's New York Times obituary.Hiding in Plain Sight examines the totality of Raymond Burr's career and his personal life, including his 35 years with partner Robert Benevides. The author interviewed over 30 people who knew or worked with Burr, including Angela Lansbury, Barbara Hale, Robert Wagner, Gale Storm, and more.

Actress, playwright, screenwriter, and iconic sex symbol Mae West (1893-1980) created a scandal and a sensation on Broadway with her play Sex in 1926. Convicted of obscenity, she was sentenced to ten days in prison. She went to jail a convict but emerged a star. Later, in Hollywood, she was the number one box-office attraction during the 1930s and saved Paramount Studios from bankruptcy. Her films included some notorious one-liners – which she wrote herself – that have become part of Hollywood lore. But behind the clever quips was Mae's deep desire, decades before the word “feminism” was in the news, to see women treated equally with men. She saw through the double standard of the time that permitted men to do things that women would be ruined for doing. Her cause was sexual equality, and she was shrewd enough to know that it was perhaps the ultimate battleground.In She Always Knew How, Charlotte Chandler draws on a series of extensive interviews that she conducted with Mae West just months before the star's death. Chandler also spoke with actors and directors who knew and worked with Mae, the man with whom she lived for the last twenty-seven years of her life, and her close assistant. Their insights enrich this fascinating book.

The Broadway Musical Quiz Book includes nearly 80 quizzes on every aspect of the Broadway musical, including sections devoted to the careers of major Broadway stars, songwriters, directors, and producers, ranging from Ethel Merman to Stephen Sondheim. It also features thematic quizzes – such as musicals set in France, adaptations from literature, food and drink, British shows, references to sports, biographical shows, and jukebox musicals – and quizzes covering each decade from 1900 to the present. With over 700 shows mentioned, and over 1200 questions, The Broadway Musical Quiz Book is detailed and thorough: the answer section doesn't merely list the answers, it provides further information on the quizzes' subjects (and often on wrong answers, too!). The Broadway Musical Quiz Book is more than just a compendium of trivia; it's a anecdotal history of musical theatre, with something for everyone who loves The Great White Way!

“I am your accompanist. You do not know me. I am the guy who sits behind the upright in the unflattering fluorescent light of the dance studio, a bottle of water on the floor, a half-eaten Power Bar on the bench, and your audition in my hands.”Award-winning New York theatre composer and pianist Andrew Gerle pulls no punches in this irreverent, fly-on-the-wall guide to everything you've never been taught about auditioning for musical theatre. From the unique perspective of the pianist's bench, he demystifies the audition process, from how to put together your book and speak to an accompanist to the healthiest and savviest ways to approach the audition marketplace and your career. By better understanding the dynamics of professional auditions, you will learn to present yourself in the strongest, most castable way while remaining true to your own special voice – the one that, in the end, will get you the job.

In Performance is intended for young people who are auditioning for both undergraduate and graduate programs, as well as professional productions and industry meetings. Featured are dynamic monologues from contemporary stage plays of the past 15 years, chosen from the point of view of a professional acting teacher, director, and casting director.Along with covering the basics of how to match the best monologue to the actor and how to approach the rehearsal and performance of the piece, the book provides a synopsis of each play, a character description, and a list of questions specific to each monologue that will direct the actor toward shaping a complex, honest, and thoughtful performance that has a strong emotional connection, a clear arc, and playable actions.

Oh Hai! The Room: The Definitive Guide is the ultimate key to the biggest pop culture phenomenon of the 21st century, Tommy Wiseau's The Room. Arguably the worst film of all time and certainly one of the most beguiling, the masterpiece of so-bad-it's-good filmmaking has grown since its release in 2003 to become one of the most popular theatrical releases of all time, with an extremely loyal and vocal fan base.Within the book, readers will find everything required to step into The Room for the first time and understand the traditions, characters, and (lack of) logic at play within the ultimate cult film. Favorite customers of the film will also find a dozen red roses as the book takes a look back at the history of the phenomenon, features extensive and in-depth analysis of the film, includes extensive interviews with the cast and crew, and, of course, studies the film's enigmatic and visionary auteur, Tommy Wiseau.This is the first available book guide to The Room. And an added bonus is the graphic design from cult film artist Mute, which will give the book an eye-catching and distinctive look.So get your tuxedo on, grab your football, have your spoons at the ready, and prepare to shout, “You're tearing me apart, Lisa!” for the first or thousandth time, as we enter The Room.

MAINLY ON DIRECTING: GYPSY WEST SIDE STORY AND OTHER MUSICALS

The most frequently asked question about writing musicals is, "Which comes first, the music or the lyrics?" As anyone on Broadway will tell you, the answer is, "The book." Tony-winning book writer Robert L. Freedman takes you through the process of writing a new musical, including story structure, song placement, dialogue, character development, and more that led to the creation of A Gentleman's Guide to Love and Murder, the 2014 Best Musical Tony winner. With candor and insight, Freedman describes the challenging and rewarding growing pains of what the critics called "Hilarious!" and "Ingenious!" and said "Ranks among the most inspired and entertaining new musical comedies I've seen in years."

In the early months of 1966, a handsome, hardworking thirty-five-year-old Canadian-born actor named William Shatner was cast as Captain Kirk in Star Trek, a troubled, low-budget science-fiction television series set to premiere that fall on NBC. Star Trek struggled for viewers and lasted only three seasons, but it found a huge, rabidly dedicated audience when it premiered in syndication following its cancellation—turning Shatner into a pop-culture icon and launching him on a career path he never could have imagined after graduating from McGill University with an economics degree twenty years earlier. As he approaches his ninetieth year, he's still working at a furious pace as a man of boundless contradictions: by turns one of the most dissected, disliked, revered, respected, mocked, imitated, and beloved stars in the show business firmament. Shatner takes a comprehensive look at this singular performer, using archival sources and information culled from interviews with friends and colleagues to transport readers through William Shatner's remarkably bumpy career: his spectacular failures and triumphs; tragedies, including the shocking death of his third wife, Nerine; and, ultimately, the resilience Shatner has shown, time and again, in the face of overwhelming odds. Author Michael Seth Starr unravels the mystery of William Shatner, stripping away the many myths associated with his personal life and his relationships with fellow actors, presenting a no-holds-barred, unvarnished look at the unique career of an inimitable performer.

In Magic to Do, which celebrates the 50th anniversary of Pippin's opening, two-time Pulitzer Prize jury member Elysa Gardner turns her attention to this innovative show, the musical retelling of the story of Prince Pippin, son of Charlemagne, and his quest for an "extraordinary life." Magic to Do dives deep into the legendary clashes, backstage drama, and incredible artistic synergy that produced one of Broadway's most influential musicals, a show that paved the way for the pop-informed musicals that we know and love today. Full of big personalities, brilliant creative minds, and never-before-told stories, Magic to Do is an intimate look at a moment in history, a time and a place in which popular culture was as defined by conflict—between the young and the old, idealism and cynicism, creation and destruction—as anything else. Gardner draws out this friction through her examination of the creative struggles between Pippin's director/choreographer, the iconic Bob Fosse, for whom the show would mark a massive career resurgence, and its young composer/lyricist, Stephen Schwartz (of Wicked fame), who was making his Broadway debut. Magic to Do, named for the opening song of the musical, clearly marks the lasting cultural significance of Pippin, which derives in large part from the timelessness of the search for self, one that presents itself anew to each succeeding generation, accounting for the show's enduring popularity around the world. Infused with R&B sounds and a universal message, it is fair to say that, without Pippin, there is no Spring Awakening, Dear Evan Hansen, or even Hamilton.

Originally performed by its creators, this 1987 Edinburgh Fringe hit remains the second longest-running West End comedy in history and has been translated into over thirty languages. The Complete Works of William Shakespeare (abridged) is not so much a play as it is a vaudeville show in which three charismatic, wildly ambitious actors attempt to present all thirty-seven of Shakespeare's plays in a single performance. They have a rudimentary concept of the stories and have imperfectly memorized a smattering of famous lines. Backstage there's a meager assortment of costumes and props. Thus armed, the three brazenly launch into their task with an earnest focus and breakneck enthusiasm.