DOCSLIB.ORG

A Comprehensive Bibliography of Books on Directing for the Stage and Stage Directors

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comprehensive Bibliography of Books on Directing for the Stage and Stage Directors Stage Directors and Directing for the Stage A Comprehensive Bibliography Pioneering Books on Directing (Pre-1960) The Art of Directing Plays. D.C. Ashton, Eldridge Entertainment House, 1931 General Principles of Play Direction. Gilmor Brown and Alice Garwood, Samuel French, 1936. Directing the Play. Toby Cole and Helen Krich Chinoy, eds. Bobbs-Merrill, 1953. Play Directing. Allen Crafton, Prentice-Hall, 1938. Directing for the Amateur Stage. Leslie Crump, Dodd Mead and Co., 1935. Fundamentals of Play Directing. Alexander Dean, Holt, Rinehart & Co., 1941. Play Direction. John E. Dietrich, Prentice-Hall, 1953. The Art of Play Production. John Dolman, Harpers, 1946. The Play Produced.. John Fernald, The Year Book Press, 1934. The Penthouse Theatre. Glenn Hughes, Samuel French, 1942. (2nd rev. ed., Greenwood Press, 1969). The Director in the Theatre. Hugh Hunt, Routledge and Kegan, 1954. Play Production and Direction. C. Lowell Lees, Prentice-Hall, 1948. The Producer and the Play. Norman Marshall, Macdonald, 1957. Encores on Main Street: Successful Community Theatre Leadership. Talbot Pearson, Carnegie Institute of Technology Press, 1948. The Stage in Action. Samuel Selden, Crofts, 1941. Stagecraft from the Stage Director’s Point of View. Hal D. Stewart, Pitman, 1949. General Texts on Directing for the Stage by Academics The Director’s Eye: A Comprehensive Textbook for Directors and Actors. John Ahart, Meriwether, 2001. Stage Direction in Transition. Hardie Albright, Dickenson, 1972. The Director at Work. Robert Benedetti, Prentice-Hall, 1985. [Current publisher: Allyn & Bacon] First Reading to First Night: A Candid Look at Stage Directing. Malcolm Black, University of Washington Press, 1975. The Craft of Play Directing. Curtis Canfield, Holt, Rinehart and Winston, 1963. Controls in Play Directing: Types and Styles of Plays. Lawrence Carra, Vantage Press, 1985. The Director’s Vision: Play Direction from Analysis to Production. Louis E. Catron, McGraw-Hill, 1989. Creative Play Direction. Robert Cohen and John Harrop, Prentice-Hall, 1974. (2nd edition, Allyn & Bacon, 1984) Directing for the Stage: A Workshop Guide of 42 Creative Training Exercise and Projects. Terry John Converse, Meriwether, 1995. Fundamentals of Play Directing. Alexander Dean, Holt, Rinehart & Co., 1941. (5th edition, Waveland Press, 2009, co- authored by Lawrence Carra) (2nd edition, 1965) Directing for Theater: A Personal Approach. Edgardo Bengson De La Cruz, University of the Philippines Press, 2005. Play Direction. John E. Dietrich, Prentice-Hall, 1953. (2nd edition, same pub., 1983, co-author Ralph W. Duckwall) Directing for the Stage. Lloyd Anton Frerer, McGraw-Hill, 2001. The Director in the Theatre. Marian Gallaway, Macmillan, 1963. A Director Prepares. Stanley L. Glenn, Dickenson Publishing, 1973. Play Directing: Analysis, Communication, and Style. Francis Hodge, Prentice-Hall, 1971. (7th edition, with Michael McLain, Allyn & Bacon, 2009) Directing Methods. Albert Johnson and Bertha Johnson, A.S. Barnes, 1970. Communication in Theatre Directing and Performance: From Rehearsal to Production. Jennifer Lanipekun, Cambria Press, 2011. Directing a Play. Michael McCaffery, Phaidon Press, 1988. (Reprint: Museum of Our National Heritage, 1991.) The Art of Play Directing: A Tentative Bibliography. Alice C. Owen, Simmons College, 1943. Directing for the Theatre (3rd rev. ed.). W. David Sievers, Harry E. Stiver, Jr., and Stanley Kahan, Wm. C. Brown Company, 1974. (1st edition: Brown, 1965, Sievers alone) Directing for Stage and Screen. Jack R. Stanley & Marian F. Monta, Palgrave Macmillan, 2007. Creating Theatre: The Art of Theatrical Directing. August W. Staub, Harper & Row, 1973. Directing Bibliography Page 2 An Actor’s/Director’s Preparation and Scene Book. Harry E. Stiver, Jr., and Stanley Kahan, Allyn & Bacon, 1981. Directing Plays. Don Taylor, Routledge / Theatre Arts Books, 1997. Theatrical Direction: The Basic Techniques. David Welker, Allyn & Bacon, 1971. Books on Directing by Professional Directors Different Every Night: Putting the Play on Stage and Keeping It Fresh. Mike Alfreds, Nick Hern Books, 2008. A Sense of Direction: Some Observations on the Art of Directing. William Ball, Drama Book Publishers, 1984. Contemporary Stage Directing. George Black, Holt, Rinehart & Winston, 1991. Thinking Like a Director: A Practical Handbook. Michael Bloom, Faber & Faber, Inc., 2001. A Director Prepares: Seven Essays on Art and Theatre. Anne Bogart, Routledge, 2001. Theatre Craft: A Director’s Practical Companion from A-Z. John Caird, Faber & Faber, 2010. On Directing. Harold Clurman, Macmillan, 1972. Words into Action: Finding the Life of the Play. William Gaskill, Nick Hern, 2011. Stage Directions. John Gielgud, Theatre Arts Books, 1963. Notes on Directing. Frank Hauser and Russell Reich, RcR Creative, 2003. Tips: Ideas for Directors. Jon Jory, Smith & Kraus, 2002. Creating Life on Stage: A Director’s Approach to Working with Actors. Marshall W. Mason, Heinemann, 2006. Mis-Directing the Play: Terry McCabe, Ivan R. Dee, 2001. The Director’s Craft: A Handbook for the Theatre. Katie Mitchell, Routledge, 2008. How to Direct a Play: A Masterclass in Comedy, Tragedy, Farce, Shakespeare, New Plays, Opera and Musicals. Braham Murray, Oberon, 2012. Directing Plays, Directing People. Mary B. Robinson, Smith & Kraus, 2012. The Director’s Companion. Mel Shapiro, Harcourt Brace, 1998. Being a Director: A Life in Theatre. Di Trevis, Routledge, 2011. So You Want to Be a Theatre Director? Stephen Unwin, Nick Hern Books, 2004. Directing Plays: A Working Professional’s Method. Stuart Vaughan, Longman, 1993. Books on Directing for Beginners, Community Theatres and Amateur Groups Rehearsal Management for Directors. David Alberts, Heinemann, 1995. Directing Theater 101: 10 Steps to Successful Productions. Wilma Marcus Chandler, Smith & Kraus, 2008. Play Production with Children and Young People. John Allen, Dobson, 1950. Good Grief! Using the Grief Sheet to Improve Community Theatre Production: Telling the Story Better Than It Has Ever Been Told. Kenneth F. Anderson, Writers Club Press, 2002. Stage Directing: A Practical Guide. Chris Baldwin, Crowood Press, 2003. Musicals! Directing School and Community Theatre. Robert Boland and Paul M. Argentini, Scarecrow Press, 1997. Carver’s Manuel on Community Theatre Directing. James C. Carver, Hansa-Hewlett Publishing, 2010. The Theater Director’s Primer. Gary Cohen, Heinemann, 2005. Playing Director: A Handbook for Beginners. Rick Desrochers, Heinemann, 1995. Play Directing in the School: A Drama Director’s Survival Guide. David Grote, Meriwether, 1998. Community Plays: How to Put Them On. Ann Jellicoe, Methuen, 1987. How to Direct the High School Play. Leon C. Miller, Dramatic Publishing, 1968. Staging Musicals for Young Performers: How to Produce a Show in 36 Sessions or Less. Maria C. Novelly and Adele Firth, Meriwether Publishing, 2004. Stage Directing: The First Experiences. Jim A. Patterson, Allyn & Bacon, 2004. Play Director’s Survival Kit: A Complete Step-by-Step Guide to Producing Theatre in Any School or Community Setting. James W. Rodgers and Wanda C. Rodgers, Simon & Schuster, 1995. On Stage: How to Put on a Play. Patricia Sternberg, Julian Messner, 1983. The Art and Craft of Play Directing. David Stevens, lulu.com, 2013. Stage Directing: A Director’s Itinerary. Michael Wainstein, Focus, 2012. Theatre for Children: A Guide to Writing, Adapting, Directing and Acting. David Wood & Janet Grant, Ivan R. Dee, 1999. Directing the Play: From Selection to Opening Night. John Wray Young, Associated Faculty Press, 1972. Directing Bibliography Page 3 Anthologies of Articles on Directing Directors on Directing: A Source Book of the Modern Theater. Toby Cole and Helen Krich Chinoy, Bobbs-Merrill, 1963. (2nd rev. ed., Allyn & Bacon, 1976). (Revision of Directing the Play, 1953.) Re: Direction: A Theoretical and Practical Guide. Rebecca Schneider and Gabrielle H. Cody, eds., Routledge, 2001. The Director in a Changing Theatre: Essays on Theory and Practice, with New Plays for Performance. J. Robert Wills, ed., Mayfield, 1976. Interviews on Directing The Director’s Voice: Twenty-One Interviews. Arthur Bartow, TCG, 1988. Conversations with Anne: Twenty-Two Interviews. Anne Bogart, TCG, 2012. Directors’ Theatre. Judith Cook, George Harrap, 1974. Women Stage Directors Speak: Exploring the Influence of Gender on Their Work. Rebecca Daniels, Macfarland, 1996. In Contact with the Gods? Directors Talk Theatre. Maria M. Delgado and Paul Heritage, Manchester University Press, 1996. On Directing: Interviews with Directors. Gabriella Giannachi and Mary Luckhurst, eds., St. Martin’s, 1999. Directing for the Stage. Polly Irvin, Rotovision, 2003. Directors: From Stage to Screen and Back Again. Susan Beth Lehman, Intellect Ltd., 2013. The Director’s Voice, Twenty Interviews, Vol. 2. Jason Loewith, TCG, 2012. In Other Words: Women Directors Speak. Helen Manfull, Smith and Kraus, 1997. Taking Stage: Women Directors on Directing. Helen Manfull, Methuen, 1999. Creating Theater: The Professionals’ Approach to New Plays. Lee Alan Morrow and Frank Pike, Vintage, 1986. Directors/Directing: Conversations on Theatre. Maria Shevtsova and Christopher Innes, Cambridge University Press, 2009. Making Plays: Interviews with Contemporary British Dramatists and Directors. Duncan Wu, ed., Palgrave Macmillian, 2000. History of Stage Directing / General Reference The Director and the Stage: From Naturalism to Grotowski. Edward Braun, Methuen, 1982. American Women Stage Directors
Load more

Recommended publications
  • The Inventory of the Joan Fontaine Collection #570
    The Inventory of the Joan Fontaine Collection #570 Howard Gotlieb Archival Research Center TABLE OF CONTENTS Film and Video 1 Audio 3 Printed Material 5 Professional Material 10 Correspondence 13 Financial Material 50 Manuscripts 50 Photographs 51 Personal Memorabilia 65 Scrapbooks 67 Fontaine, Joan #570 Box 1 No Folder I. Film and Video. A. Video cassettes, all VHS format except where noted. In date order. 1. "No More Ladies," 1935; "Tell Me the Truth" [1 tape]. 2. "No More Ladies," 1935; "The Man Who Found Himself," 1937; "Maid's Night Out," 1938; "The Selznick Years," 1969 [1 tape]. 3. "Music for Madam," 1937; "Sky Giant," 1938; "Maid's Night Out," 1938 [1 tape]. 4. "Quality Street," 1937. 5. "A Damsel in Distress," 1937, 2 copies. 6. "The Man Who Found Himself," 1937. 7. "Maid's Night Out," 1938. 8. "The Duke ofWestpoint," 1938. 9. "Gunga Din," 1939, 2 copies. 10. "The Women," 1939, 3 copies [4 tapes; 1 version split over two tapes.] 11. "Rebecca," 1940, 3 copies. 12. "Suspicion," 1941, 4 copies. 13. "This Above All," 1942, 2 copies. 14. "The Constant Nymph," 1943. 15. "Frenchman's Creek," 1944. 16. "Jane Eyre," 1944, 3 copies. 2 Box 1 cont'd. 17. "Ivy," 1947, 2 copies. 18. "You Gotta Stay Happy," 1948. 19. "Kiss the Blood Off of My Hands," 1948. 20. "The Emperor Waltz," 1948. 21. "September Affair," 1950, 3 copies. 22. "Born to be Bad," 1950. 23. "Ivanhoe," 1952, 2 copies. 24. "The Bigamist," 1953, 2 copies. 25. "Decameron Nights," 1952, 2 copies. 26. "Casanova's Big Night," 1954, 2 copies.
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • By Jeeves Music: Andrew Lloyd Webber Lyrics: Alan Ayckbourn Book: Alan Ayckbourn Premiere: Tuesday, April 22, 1975
    ------------------------------------------------------------------------------ By Jeeves Music: Andrew Lloyd Webber Lyrics: Alan Ayckbourn Book: Alan Ayckbourn Premiere: Tuesday, April 22, 1975 ------------------------------------------------------------------------------ The Code of the Woosters BERTIE I obey the Code of the Woosters. It's a simple philosophy. When perhaps a chap's in trouble. I respond with alacrity. And if my fellow men have problems Whatever they might be They call on me The sterling Wooster B. For despite This easy nature Come the evening When battle dawns To see a Wooster Grab the livestock by both the horns For when a Wooster's mask of pleasure Becomes a steely stare You'll know he's there He'll never turn a hair What would a chap do without it? How would he get through without it? How could he stay true wihtout the Code of the Woosters? If you're at sea, I shall be there, even put off tea to be there Woosters have swum oceans for the Code of Allegiance duly owed to the Wooster Code What a load If a girl Is in the doldrums Not a paddle To her name I'll be there Though frankly speaking Womanizing's not my game But if she's really in a lather Wild eyed and hat askew He'll see her through Old you know who... Whenever it calls, can't ignore it, even give up Ascot for it Woosters have died gladly for the code of For that rugged, heavy load called the Wooster Code What a load Take my card In case you need me, if you're jousting a losing cause Like the chap Who wins the double I can rattle The natural laws So if you're eaten up with anguish I'll snatch you from its jaws No second's pause From one sincerely yours..
    [Show full text]
  • Demarcating Dramaturgy
    Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement.
    [Show full text]
  • What Are They Doing There? : William Geoffrey Gehman Lehigh University
    Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context ..................................
    [Show full text]
  • Introduction: Intuition/Image/Event: 'Beckett's Peephole' As Audio
    Notes Introduction: Intuition/Image/Event: ‘Beckett’s Peephole’ as Audio- Visual Rhizome 1. The quote is from Beckett’s The Unnamable. 2. Beckett first outlines this concept in his 1932 novel, Dream of Fair to Middling Women, where the character Belacqua desires to write a book whereby ‘The experience of my reader shall be between the phrases, in the silence, communicated by the intervals, not the terms, of the statement.’ Beckett (1992), p. 138. 3. I will discuss this distinction in Chapter 1. 4. See Uhlmann (1999), specifically chapter 2; (2004), pp. 90–106; and (2006). 1 Thinking the Unthinkable: Time, Cinema and the Incommensurable 1. They could thus be said to be more ‘thallic’ than ‘phallic’, horizontally fugitive rather than vertically hierarchical, molecular rather than molar. On the ‘ thallic’, see Weber (1982), pp. 65–83. 2. The Proustian implications of this temporal multiplicity are obvious, although Proust, like Beckett, is less concerned with duration, the past-present’s ability to ‘move on’ as becoming- future, than with the role of memory as a means of destroying the pernicious influence of habit. His distinction between voluntary and involuntary memory is predicated on a desire to preserve lost time as it survives in itself, the better to regain it for ourselves as art. 3. See Bellour (1977), pp. 66–91; (1986), pp. 66–101. 4. The reference to Wim Wender’s Falsche Bewegung (1975) is not uncoincidental. Wenders is paradigmatic of one aspect of the crystal- image in Cinema 2. See pp. 76–8. 5. For Nietzsche’s eternal return as an affirmation of difference, see Deleuze (1983).
    [Show full text]
  • Talking Theatre Extract
    Richard Eyre TALKING THEATRE Interviews with Theatre People Contents Introduction xiii Interviews John Gielgud 1 Peter Brook 16 Margaret ‘Percy’ Harris 29 Peter Hall 35 Ian McKellen 52 Judi Dench 57 Trevor Nunn 62 Vanessa Redgrave 67 NICK HERN BOOKS Fiona Shaw 71 London Liam Neeson 80 www.nickhernbooks.co.uk Stephen Rea 87 ix RICHARD EYRE CONTENTS Stephen Sondheim 94 Steven Berkoff 286 Arthur Laurents 102 Willem Dafoe 291 Arthur Miller 114 Deborah Warner 297 August Wilson 128 Simon McBurney 302 Jason Robards 134 Robert Lepage 306 Kim Hunter 139 Appendix Tony Kushner 144 John Johnston 313 Luise Rainer 154 Alan Bennett 161 Index 321 Harold Pinter 168 Tom Stoppard 178 David Hare 183 Jocelyn Herbert 192 William Gaskill 200 Arnold Wesker 211 Peter Gill 218 Christopher Hampton 225 Peter Shaffer 232 Frith Banbury 239 Alan Ayckbourn 248 John Bury 253 Victor Spinetti 259 John McGrath 266 Cameron Mackintosh 276 Patrick Marber 280 x xi JOHN GIELGUD Would you say the real father—or mother—of the National Theatre and the Royal Shakespeare Company is Lilian Baylis? Well, I think she didn’t know her arse from her elbow. She was an extraordinary old woman, really. And I never knew anybody who knew her really well. The books are quite good about her, but except for her eccentricities there’s nothing about her professional appreciation of Shakespeare. She had this faith which led her to the people she needed. Did she choose the actors? I don’t think so. She chose the directors. John Gielgud Yes, she had a very difficult time with them.
    [Show full text]
  • List of Plays Performed at UW Oshkosh 1980-1989
    List of Plays Performed at UW Oshkosh 1980-1989 The Robber Bridegroom You’re a Good Man Charlie Brown Book and Lyrics: Alfred Uhry Book, Music, and Lyrics: Clark Gesner Director: Don Burdick Director: Kathleen Wieting Performance dates: February 19-24, Performance dates: NoVember 20-23, 1980 1980 Look Back in Anger The Threepenny Opera Playwright: John Osborne Book and Lyrics: Bertolt Brecht Director: Randy Haal Director: Don Burdick Performance dates: March 18-22, Performance dates: February 12-14 & 1980 19-21, 1981 Medea Experiments in Puppetry Playwright: Euripides Director: Dorlis Grubidge Director: Dorlis Grubidge Performance dates: February 28 – Performance dates: April 19 – May 4, March 1, 1981 1980 Blithe Spirit Puppets, Possible & Impossible Playwright: Noel Coward Director: Dorlis Grubidge Director: Randy Haasl Performance dates: May 22-25, 1980 Performance dates: March 19-21 & 26-28, 1981 California Suite Playwright: Neil Simon The Fantasticks Director: Don Burdick Book and Lyrics: Tome Jones Performance dates: June 24-28, 1980 Director: Jeannie Muson Schweiss Performance dates: April 7-11, 1981 How the Other Half Loves Playwright: Alan Ayckbourn The Claude Kipnis Mime Company Director: Dorlis Grubidge Performance: April 12, 1981 Performance dates: October 9-11 & 16-18, 1980 Let Us Entertain You A puppet production The Madwoman of Chaillot Director: Dorlis Grubidege Playwright: Jean Giraudoux Performance: May 27-29, 1981 Director: Gloria Link Performance dates: October 30 – Side by Side by Sondheim NoVember 1 & NoVember 6-8,
    [Show full text]
  • Filmography V6.Indd
    a filmography Foreword by The Irish Film Institute For over 60 years, the Irish Film Institute has been dedicated to the promotion of film culture in Ireland and therefore is proud to present this filmography of Samuel Beckett’s work. Beckett remains one of Ireland’s most important and influential artists and Samuel Beckett – A Filmography provides a snapshot of the worldwide reach and enduring nature of his creativity. As part of the Beckett centenary celebrations held in April 2006, the Irish Film Institute organised a diverse programme of films relating to the work of Beckett, including a tour of the line-up to cinemas around the country. Prior to this, the Irish Film Institute provided the unique opportunity to view all 19 films in the ‘Beckett on Film’ series by screening the entire selection in February 2001. This filmography provides the perfect accompaniment to these previous programmes and it illustrates that Beckett’s work will continue to be adapted for film and television worldwide for years to come. Photograph by Richard Avedon Samuel Beckett – A Filmography was made possible though the kind support of the Department of Arts, Sport and Tourism and the Beckett Centenary Council and Festival Committee. Mark Mulqueen Director, The Irish Film Institute An Introduction Compiling a filmography of Beckett’s work is both a challenging and daunting prospect. It was important, from the outset, to set some parameters for this filmography. Therefore, to this end, I decided to focus on the key area of direct adaptations of Beckett’s work filmed for cinema or television.
    [Show full text]
  • Acting in the Academy
    Acting in the Academy There are over 150 BFA and MFA acting programs in the US today, nearly all of which claim to prepare students for theatre careers. Peter Zazzali contends that these curricula represent an ethos that is outdated and limited given today’s shrinking job market for stage actors. Acting in the Academy traces the history of actor training in universities to make the case for a move beyond standard courses in voice and speech, move- ment, or performance, to develop an entrepreneurial model that motivates and encourages students to create their own employment opportunities. This book answers questions such as: • How has the League of Professional Theatre Training Programs shaped actor training in the US? • How have training programs and the acting profession developed in relation to one another? • What impact have these developments had on American acting as an art form? Acting in the Academy calls for a reconceptualization of actor training in the US, and looks to newly empower students of performance with a fresh, original perspective on their professional development. Peter Zazzali is Assistant Professor of Theatre at the University of Kansas. John Houseman and members of Group I at Juilliard in the spring of 1972 reading positive reviews of the Acting Company’s inaugural season. Kevin Kline is seated behind Houseman. Photo by Raimondo Borea; Courtesy of the Juilliard School Archives. Acting in the Academy The history of professional actor training in US higher education Peter Zazzali First published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Peter Zazzali The right of Peter Zazzali to be identifi ed as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
    [Show full text]
  • History of Arena Stage: Where American Theater Lives the Mead Center for American Theater
    History oF arena Stage: Where American Theater Lives The Mead Center for American Theater Arena Stage was founded August 16, 1950 in Washington, D.C. by Zelda Fichandler, Tom Fichandler and Edward Mangum. Over 65 years later, Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Director Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground- breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacts the lives of over 10,000 students annually through its work in community engagement. Now in its seventh decade, Arena Stage serves a diverse annual audience of more than 300,000. When Zelda and Tom Fichandler and a handful of friends started Arena Stage, there was no regional theater movement in the United States or resources to support a theater committed to providing quality work for its community. It took time for the idea of regional theater to take root, but the Fichandlers, together with the people of the nation’s capital, worked patiently to build the fledgling theater into a diverse, multifaceted, internationally renowned institution. Likewise, there were no professional theaters operating in Washington, D.C. in 1950. Actors’ Equity rules did not permit its members to perform in segregated houses, and neither The National nor Ford’s Theatre was integrated. From its inception, Arena opened its doors to anyone who wished to buy a ticket, becoming the first integrated theater in this city.
    [Show full text]
  • 'The New (Old) Play': Q1 Hamlet and the Texts Around
    ‘THE NEW (OLD) PLAY’: Q1 HAMLET AND THE TEXTS AROUND PERFORMANCE, 1980-2015 Scott Shepherd Royal Holloway, University of London PhD Thesis TABLE OF CONTENTS DECLARATION OF ACADEMIC INTEGRITY ................................................................4 ABSTRACT .............................................................................................................................5 ACKNOWLEDGEMENTS ....................................................................................................7 A NOTE ON TEXTS AND ABBREVIATIONS ....................................................................9 CHAPTER ONE WHAT WE TALK ABOUT WHEN WE TALK ABOUT HAMLET ................................11 Approaching the Archive .............................................................................................16 The First Quarto from 1825 to 1980: A Pre-History ....................................................23 The Origins of Q1: A Survey of Scholarship .................................................................35 Summary of the Argument and Outline of the Thesis ....................................................44 CHAPTER TWO: 1980-1989 THE MOST VALUABLE OF ALL SCHOLARLY ACTIVITIES ....................................50 RSC 1980: Reviewing Authenticity ...............................................................................58 Orange Tree 1985: Absolute Fidelity? .........................................................................66 RSC 1989: Common Sense, I Suppose ..........................................................................72
    [Show full text]