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Bibliography BIBLIOGRAPHY Works Referenced Anderson, Robert. Tea and Sympathy. New York: Random House, Plays, 1953. Auburn, David. Proof: A Play. New York: Faber and Faber, 2001. Ball, David. Backwards and Forwards: A Technical Manual for Reading Plays. Carbondale, IL: Southern Illinois University Press, 1983. Bernstein, Leonard, Arthur Laurents, and Stephen Sondheim. West Side Story: A Musical. New York: Random House, 1958. Bock, Jerry, Jerome Weidman, George Abbott, and Sheldon Harnick. Fiorello: A New Musical. New York: Random House, 1960. Bock, Jerry, Joe Masteroff, and Sheldon Harnick. She Loves Me: A Musical Comedy. New York: Dodd, Mead & Company, 1963. Bock, Jerry, Joseph Stein, and Sheldon Harnick. Fiddler on the Roof. New York: Crown, 1964. Churchill, Caryl. Cloud Nine: A Play. London: Pluto Press, 1980. Coleman, Cy. The Life. New York: Tams-Witmark Music Library, 1996. Coleman, Cy, Betty Comden, Adolph Green. On the Twentieth Century. New York: Samuel French, 1980. Coleman, Cy, Larry Gelbart, and David Zippel. City of Angels. New York: Applause Theatre Book Publishers, 1990. Egri, Lajos. The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives. New York: Simon & Schuster, 1946. Gershwin, George, Ira Gershwin, and DuBose Heyward. Porgy and Bess. New York: Gershwin, 1935. Hellman, Lillian. The Children’s Hour. New York: New American Library, 1962. Howard, Pamela. What Is Scenography? London and New York: Routledge, 2002. Link, Peter. King of Hearts [Sound Recording], Music by Peter Link, Lyrics by Jacob Brackman. Englewood Cliffs, NJ: Take Home Tunes & Original Cast Records, 1992. Loesser, Frank, Jo Swerling, Abe Burrows, and Damon Runyon. Guys & Dolls: A Musical Fable of Broadway. New York: Frank Music, 1953. Marks, Walter, Ernest Kinoy, and Joseph Mitchell. Bajour: A Full Length Musical. Chicago: Dramatic, 1976. Molière, Jean-Baptiste Poquelin. Tartuffe: Comedy in Five Acts. Trans. into English Verse by Richard Wilbur. New York: Harcourt, Brace, & World, 1963. 176 Bibliography O’Brien, Richard. The Rocky Horror Show: Musical. New York and London: Samuel French, 1983. Ravel, Maurice and Sidonie Gabrielle Colette. Trans. into English by Katharine Wolff. L’Enfant et les Sortilèges. Paris: Durand, 1932. Rebeck, Theresa. Bad Dates. New York and London: S. French, 2004. Rodgers, Richard and Oscar Hammerstein. Oklahoma! London and New York: Williamson Music, 1943. ———. Carousel. London: Williamson Music, 1945. Shaffer, Peter. Amadeus: A Play. London: Deutsch, 1980. Shakespeare, William. Twelfth Night; or, What You Will. Cambridge and New York: Cambridge University Press, 1949. ———. Romeo and Juliet. Ed. Jill L. Levenson. Oxford and New York: Oxford University Press, 2000. Simon, Neil. Barefoot in the Park: A New Comedy. New York: Random House, 1964. Simon, Neil, Cy Coleman, and Dorothy Fields. Sweet Charity. New York: Random House, 1966. Smith, Evan. The Uneasy Chair: A Cautionary Tale in Three Volumes. New York: Dramatists Play Service, 1999. Sondheim, Stephen. Sweeney Todd, the Demon Barber of Fleet Street. New York: Applause Theatre Book Publishers, 1991. Strauss, Johann. The Queen’s Lace Handkerchief. New York: Arthur W. Tams, 1898. Treadwell, Sophie. Machinal. London: N. Hern, 1993. Ward, Robert, James Stuart, and Richard Edward Connell. A Friend of Napoleon: An Operetta in Two Acts based on the Short Story by Richard Connell. Boston: Vireo Press, 2005. Williams, Tennessee. A Streetcar Named Desire: A Play. New York: New Directions, 1947. ———. Summer and Smoke: A Play. New York: New Directions, 1948. Wilson, Lanford. The Hot L Baltimore. New York: Hill and Wang, 1973. Supplemental Reading Ball, William. A Sense of Direction: Some Observations on the Art of Directing. New York: Quite Specific Media Group, 1984. Clurman, Harold. On Directing. New York: Simon & Schuster, 1972. Dolman Jr., John, Richard K. Knaub, and John Jeffery Auer. The Art of Play Production. New York: Harper & Row, 1973. Essig, Linda. Lighting and the Design Idea. New York: Harcourt Brace, 1997. Gillette, J. Michael. Theatrical Design and Production: An Introduction to Scene Design and Construction, Lighting, Sound, Costume, and Makeup. Boston: McGraw Hill, 2000. Glenn, Stanley L. A Director Prepares. Encino, CA: Dickenson, 1961. Hayes, David. Light on the Subject: Stage Lighting for Directors and Actors—And the Rest of Us. New York: Limelight Editions, 1989. Bibliography 177 Hodge, Francis. Play Directing: Analysis Communication and Style. Englewood Cliffs, NJ: Prentice-Hall, 1971. Jones, Robert Edmond. The Dramatic Imagination: Reflections and Speculations on the Art of the Theatre. New York: Theatre Arts Books, 1969. Miller, Scott. From Assassins to West Side Story: The Director’s Guide to Musical, Theatre. Portsmouth, NH: Heinemann, 1996. Peithamn, Stephan and Neil Offen. Stage Directions: Guide to Directing. Portsmouth, NH: Heinemann, 1999. INDEX Note: References to illustrations are in bold. actors production elements and, 34, 56, 61, design process and, 44, 57, 58–61 79, 109, 117 design projects for, 139–44, 147–51, research and, 35, 125 158–60, 159, 165 buzzwords, 8, 13 influence of, 59–61, 69 rehearsal and, 64, 65 casting, 55, 57, 80–1, 108–10, 122–3 Amadeus (Shaffer), 142, 143, 144, 147–8, chain of command, 8–10, 13, 52, 66 158, 159 characters, 19, 21, 23, 25, 37–9, 59, 146 Anderson, Robert, 22, 48 charrette, 145, 146–7 artistic directors, 25 Chekhov, Anton, 47 Art of Dramatic Writing, The (Egri), Chekhov, Michael, 94 18–19 Children’s Hour, The (Hellman), 22, 28 Auburn, David, 18 choreographers and production teams, 1 audiences, 16, 17, 37, 51, 54, 79 choreography, 89, 94, 99, 103–4, involvement of, 85–7, 93, 94, 107–9, 108–9, 122 160–1, 173 complications in, 61, 113 for The Life, 8, 85, 93 dancers and, 114, 133 reviewers as, 70–2 Christopher, Ted, 48 selecting for specific, 80, 81 classroom, and drama classes, 35 success in the reaction of, 20, 25, 52, in Collaborative Studio, 135–7, 141, 151, 69–70, 71 153–64, 166–70 auditions, 55, 57, 109–10 evolution of, 138, 141, 173–4 Austreng, Christopher, 124, 132 faculty support of, 137 awards, 81 limitations, 127, 167 personal goals and, 75 background checks, 5, 13 on production style, 139, 141–2 Backwards and Forwards (Ball), 17 on research methods, 139 Bad Dates (Rebeck), 30, 37, 38 on script choice, 137, 141–3 Ball, David, 17 student needs, 137, 139, 140–1, Barish, Shelley H., 165 144, 172 blocking, 20, 50, 71, 101, 111, student responses to, 142–3, 164, 113, 114 166–70 in rehearsal, 58, 60, 61, 62, 64 see also collaboration; scripts box office manager, 85 classroom charrettes, 145, 146–7 budgets, 54, 70, 78 classroom collaboration, 135–48, 149, amounts in, 80, 141 170–4 limitations of, 23, 47, 78–9, 113, 117, classroom course preparation, 137, 137, 167 138–45, 149 180 Index classroom design projects, 139–44, collaboration rules, 5, 6, 7, 8–9, 11, 12, 13, 146–58, 157, 160, 165 24, 50 classroom reviewers, 71 collaboration theory, 3–14, 15, 75, 97, 137 classroom syllabus development, 136, collaboration vocabulary of, 3–13 139–42, 143, 144–7, 169 Collaborative Studio, 135–7, 141, 151, classroom vocabulary, 145, 149, 166, 172 153–64, 166–70 climax of a play, 17, 18, 19, 82, 85–6, 92, 93 University of Wisconsin/Madison and Cole, Jessie, 118, 124–9 the, 135, 145 Coleman, Cy, 81, 123, 142, 158 see also classroom; Machinal see also Life, The collage rendering, 145 Colette, 48 color scheme, 145 collaboration, 29 communication “approval” in, 56–7 clarity in, 57–8, 60, 66 class preparation for, 137 collaboration and, 11, 12, 15, 42, 75 cohesion in, 1, 15, 42, 45, 49, 54, 75, 172 miscommunication and, 15, 43, 107 cooperation as, 1, 35, 42, 45, 66, 149 points of view via language, 4, 11, 12 criticism within, 37, 42, 66 see also collaboration; Life, The; defined, 1, 3, 172 rehearsals; scripts; vocabulary goals, 3–4, 15, 45, 66, 75, 138 company manager, 6 interpretation and, 9, 15, 16, 17, 20–1 construction, 59, 61, 138 in life situations, 136, 171–4 cooperation, see collaboration negativity during, 1, 45–7, 49 costume designers obstacles and problems, 4, 23, 78 collaboration and, 33–4, 46–7, 51, 57, 58 in post mortems, 69–75 premise and, 33 in practice, 8–9, 55–6, 77–8 production team and, 1, 33 presentation, 37–44 renderings, 112, 159 priority management, 8–10, 50 costume notes, 115 reputation and, 56, 73, 74, 75, 138 costume plate, 145 research methods for, 27–35 costumes, 19, 34, 44, 51, 58, 63, 64, 112, 159 respect during, 11, 12–13, 66 creativity, 8–9, 11, 12, 13 revisions and, 25, 44, 45–7, 49–54, cues, 63, 64, 110, 113, 129 55–6, 66 Cull, Jeanine, 159 script analysis and, 3–12, 15, 17–18, 20, 54, 75, 79, 146 dancers, see choreography student viewpoint on, 164 definitions, importance of, 7–8, 13, 49 see also Collaborative Studio; designer notes, 65, 99–100, 101 costume designers; designers; designers, 21 directors; Life, The; premise; collaborate with the director, 3–4, production 7–8, 10–11, 35, 37–44, 49–50, collaboration chain of command, 8–10, 56–7, 65 13, 52, 66 collaboration problems and, 4, 23, 78 collaboration design process, 3–4, 10, 23, frustrations of, 4, 7, 47, 49 40–7, 55–7, 78, 103 goals, 17, 65 collaboration in classrooms, 135–48, 149, “look” of a show from, 20, 30–1 170–4 processes of, 21–2, 55, 57, 65 collaboration in production meetings, production concerns of, 4, 6–8, 6–7, 22, 24, 30, 32, 42–3, 62–3 10, 22 collaboration in rehearsals, 55, 57, 60, 64, research by, 5, 27, 29, 31–5, 44, 49 66, 67 roles, 6–8, 10, 42, 65 Index 181 see also costume designers; Life,
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