As a playwright, screenwriter, and director, Arthur Laurents has a unique place in the history of theater. In this moving, exhilarating, and provocative account, he presents readers with a front-row look at the making of two of the greatest musicals of the American stage, West Side Story and Gypsy. He writes in rich detail about his new bilingual production of West Side Story, along with his most recent production of Gypsy, how it began as an act of love, and how that love spread through the entire company and resulted in a Gypsy unlike any other. Laurents offers behind-the-scenes details about the musicals he directed, including I Can Get It for You Wholesale, its producer David Merrick (the "Abominable Showman"), and its (very young) stars, Barbra Streisand and Elliott Gould. He dishes on Stephen Sondheim's Anyone Can Whistle, which starred Angela Lansbury and Lee Remick, marking the debut for each in musical theater. And he recounts the challenges and surprises that came with the making of La Cage aux Folles, the first big Broadway musical that was gay and glad to be. Throughout, the book is enriched by Laurents's two loves - his love for the theater and his love for his partner of fifty-two years, Tom Hatcher, who shared and inspired every aspect of his life and his work. Mainly on Directing presents an unforgettable portrait of an artist working with other artists, a unique close-up look at today's American musical theater by a man who's been at its red-hot center for more than five decades.
Bloom draws on nearly twenty years of directing and teaching experience to convey the full experience of directing for the stage, as well as the mindset that all successful directors possess. More than a mere set of guidelines, Thinking Like a Director details a technique that covers every facet of theatrical production, from first reading through final rehearsals. The key to directorial thinking, Bloom asserts, is a dual perspective--an ability to focus on both the internal lives of the play's characters and the external elements of the play's structure. In this illuminating, engaging, and accessible handbook, the art of dramatic interpretation and the craft of working with actors are integrated into a single, unified method.
In Casting Directors' Secrets, casting directors from New York, Los Angeles, Toronto, and Vancouver offer insight in their own words into the do's and don'ts of the audition process and reveal the three biggest mistakes made by actors at this crucial stage. The book offers instruction in these areas and more: How to get the audition - training and preparation, headshots and resume, finding an agent, auditioning for agents; audition/interview etiquette - being late, canceling your appointment, waiting room do's and don'ts, staying focused, filling out the paperwork, behavior toward other actors; bad habits - perfume and cologne, first impressions, don't look for the casting couch , you and your ego, brown-nosing, tell the truth but not the whole truth; artistic preparation - what your agent should tell you, working with sides, eye contact and the fourth wall, ice-cold readings; performing the audition - rewriting the dialogue, false starts, losing your place, violence in audition scenes (don't make it too real ); growing as an actor - taking risks, attending classes, maintaining the momentum; and more
A premier playwright, Edward Albee is also a gifted director. Albee in Performance details Albee's directorial vision and how that vision animates his plays. Having had extraordinary access to Albee as director, Rakesh H. Solomon reveals how Albee has shaped his plays in performance, the attention he pays to each aspect of theater, and how his conception of the key plays he has directed has evolved over a five-decade career. Solomon pays careful attention to the major works, from The American Dream and Zoo Story to Albee's best-known work, Who's Afraid of Virginia Woolf?, as well as to later plays such as Marriage Play and Three Tall Women. The book also includes interviews with Albee and his collaborators on all aspects of staging, from rehearsal to performance.
What are the key elements that go into creating a work of art for the stage? Which are the most productive conditions and methods of rehearsal? In this collection of interviews, 19 international artists share their experience and offer practical advice on the creation of performance work. Their answers provide a goldmine of tried and tested approaches as they discuss the common problems and difficulties of creative work, their turning-point experiences, and ways in which they have challenged performers and themselves to go beyond conditioned reflexes to create work which is original and authentic.
Among the contemporary directors, choreographers, performers, and actors to share their insights are: Annabel Arden (Complicite, UK), Richard Lowdon (Forced Entertainment, UK), Richard Foreman (Ontological-Hysteric Theatre, USA), Sean Patten, Berit Stumpf (Gob Squad, UK), Maxine Doyle (Punchdrunk, UK), Soheil Parsa (Modern Times Stage Company, Canada), Eugenio Barba (Odin Teatret, Denmark), Jan Fabre (Belgium), Heiner Goebbels (Germany), Jerome Bel (France), Helgard Haug (Rimini Protokoll, Germany)
What are the key elements that go into creating a work of art for the stage? Which are the most productive conditions and methods of rehearsal? In this collection of interviews, 18 international artists share their experience and offer practical advice on the creation of performance work. Their answers provide a goldmine of tried and tested approaches as they discuss the common problems and difficulties of creative work, their turning-point experiences, and ways in which they have challenged performers and themselves to go beyond conditioned reflexes to create groundbreaking new work.
Provides a comparative approach to the internationally wide-spread phenomenon of the contemporary director-auteur in the theatre, urging a historical and theoretical exploration of the visions, methods, and stage idioms in the work of established artists. Sidiropoulou examines prominent examples of both older and more recent director-auteur work, aiming at re-asserting - to its artistic and academic audience - the value of balancing the established emphasis on the diegetic aspects of theatre with the ever-spreading varieties of dramatic de-"centering" and "dis-semination." This exciting work also poses questions of authorship, which necessarily imply the redefinition of the relationship between "playwright" and the director-playwright.
A historical, theoretical, and comparative study of the emergence of the director-as-author phenomenon, posing questions of authorship and redefining the relationship between 'playwright' and the director-playwright.
Sound experimentation by avant-garde theatre artists of the late-nineteenth and early-twentieth centuries is an important but ignored aspect of theatre history. Curtin explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.