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In Force, Drive, Desire, Rudolf Bernet develops a philosophical foundation of psychoanalysis focusing on human drives. Rather than simply drawing up a list of Freud's borrowings from Schopenhauer and Nietzsche, or Lacan's from Hegel and Sartre, Bernet orchestrates a dialogue between philosophy and psychoanalysis that goes far beyond what these eminent psychoanalysts knew about philosophy. By relating the writings of Freud, Lacan, and other psychoanalysts to those of Aristotle, Leibniz, Schopenhauer, Nietzsche, Husserl, Heidegger, and, more tacitly, Bergson and Deleuze, Bernet brings to light how psychoanalysis both prolongs and breaks with the history of Western metaphysics and philosophy of nature. Rereading the long history of metaphysics (or at least a few of its key moments) in light of psychoanalytic inquiries into the nature and function of drive and desire also allows for a rewriting of the history of philosophy. Specifically, it allows Bernet to bring to light a different history of metaphysics, one centered less on Aristotelian substance (ousia) and more on the concept of dunamis--a power or potentiality for a realization toward which it strives with all its might. Relating human drives to metaphysical forces also bears fruit for a renewed philosophy of life and subjectivity.

Here is the thoroughly revised third edition of the bible of improvisational theater.Viola Spolin's improvisational techniques changed the very nature and practice of modern theater. The first two editions of Improvisation for the Theater sold more than 100,000 copies and inspired actors, directors, teachers, and writers in theater, television, film. These techniques have also influenced the fields of education, mental health, social work, and psychology.Also available: Spolin's Theater Game File

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An introduction to theatrical directing using the concepts and terminology of semiotic theory

The essays in Upstaging Big Daddy: Directing Theater as if Gender and Race Matter argue that directing, as it has been taught and handed down over the years, has worked in the service of a body of dramatic literature that has routinely minimized or distorted the lives of women, people of color, gay men, and lesbians. The book’s contributors see directing not as an ideologically neutral set of skills, but as something that has served historically to preserve existing forms of authority. What happens, then, when a feminist who directs for the theater decides that there is something called a feminist director, someone who sees her job as protesting and intervening in the existing system of representation? The contributors to this volume provide a wide range of answers, in original essays that disrupt traditional approaches of directing by showing how feminist theory might be applied in practice. Essays and interviews by a wide variety of directors, scholars, and other theater specialists offer fresh new models for thinking about directing. The collection includes essays on African-American theater, feminist “classics,” and male directors working on feminist plays, as well as concrete suggestions for directing a variety of plays, from works by Shakespeare and Euripides to those by Caryl Churchill, Aishah Rahman, and Helene Cixous. The theoretical material, drawing from a wide range of contemporary critics and theorists, has been written with the director in mind, partly for the purpose of analyzing texts but also for inspiring creative directorial and design solutions.

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2017 Reprint of 1963 Edition.  Full facsimile of the original edition, not reproduced with Optical Recognition software.  “An iconoclastic handbook of theater by the high priestess of improvisational theater in this country...  The exercises are artifices against artificiality, structures designed to almost fool spontaneity into being—or perhaps a frame, carefully built to keep out interferences, in which the student-actor waits... Genius, unguarded, “happens” and stage fright, awkward movements, poor enunciation, phoniness, lack of characterization, in fact nearly every ill ever witnessed on stage, disappears...  Those in theater, film makers included, will find this an important document in practice and theory; it is a bit like Natural Childbirth to obstetrics”—Film Quarterly.

He’s called the King of Pin-up for good reason. Gillette Elvgren (1914–1980) known as Gil, created some 700 pin-up oil paintings during his long career, more than any other calendar artist. His subjects were flirty, sassy, playful, and spirited, quintessential American girls who found themselves unintentionally exposed in myriad ways. They first rose to popularity among troops in World War II, and continued inspiring male fantasies well into the 1970s.Today Elvgren’s recognition factor is greater than ever, as his images are collected by men and women alike. His works have been the subject of top-selling TASCHEN books and calendars, and now 200 of his best are available in a compact package perfect for gifting―to oneself and others. From his first mid-’30s paintings through the 1970s, it’s all here, more portable, affordable, and adorable than ever!

From Arthur Laurents, playwright, screenwriter, director—a mesmerizing book about theater, the art, the artist, the insider, the outsider—and the making of two of the greatest musicals of the American stage, West Side Story and Gypsy. It is a book profoundly enriched by the author’s two loves, love for the theater and love for his partner of fifty-two years, Tom Hatcher, who shared and inspired every aspect of his life and his work.Laurents writes about the musicals he directed, 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 writes about Stephen Sondheim’s Anyone Can Whistle, which starred Angela Lansbury and Lee Remick, marking the debut for each in musical theater. He summons up 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.He writes in rich detail about his most recent production of Gypsy, how it began as an act of love, a love that spread through the entire company and resulted in a Gypsy unlike any other. And about his new bilingual production of West Side Story.And he talks, as well, about the works of other directors—Fiddler on the Roof; Kiss Me, Kate; Spring Awakening; Street Scene; The Phantom of the Opera; LoveMusik; Sweeney Todd.Moving, exhilarating, provocative—a 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.

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.

·An exploration of the life and work of Ebrahim Alkazi·While most treatises on his work focus on his involvement with theater, this volume takes an in-depth look at Alkazi's extensive engagement with the arts, as well as how his work reflects on his family, and the post-colonial scene in India·Contains 400 color illustrations, including those of art exhibited at Art Heritage gallery, previously unpublishedThe doyen of India's art and theater scenes, Ebrahim Alkazi has been credited with garnering worldwide visibility for Indian art. Ebrahim Alkazi: Directing Art explores how his unique way of locating Indian art within a broader framework led to several formal engagements with artists such as MF Husain, FN Souza, SH Raza, Gieve Patel, and Anish Kapoor, among others. This volume brings together over 400 paintings, many of them exhibited at Art Heritage, and previously unpublished. They chase Alkazi's landmark exhibitions of European modern art in 1954, a result of his and his wife Roshen's passionate engagement with contemporary artistic production. Featuring several conversations and essays, Directing Art provides a context for the Alkazis' participation in the evolution of a transnational history of modernism, and their long association with the Progressive Artists Group. Also included is an intimate portrayal by Amal Allana, Alkazi's daughter, who talks of her father's passion for art and theater, his revolutionary multi-disciplinary style, and the bohemian world of Mumbai's post-colonial art scene. A chronicle of the remarkable life and work of Ebrahim Alkazi, Directing Art is an invaluable education in Indian art.

Less than 200 years ago the director was only an "ideal" projected by disgruntled critics. Today, productions wouldn't be able to survive with our the adept talents of the director. This book has been known for years as the guide to the "unknown theater" of the director. This collection is comprised of the voices of the modern theater as they state their credos and explore their craft. Topics include: the emergence of the director; behind the fourth wall; the art of rehearsal; light and space; and much more. Directors and avid theater-buffs.

·An exploration of the life and work of Ebrahim Alkazi·While most treatises on his work focus on his involvement with theater, this volume takes an in-depth look at Alkazi's extensive engagement with the arts, as well as how his work reflects on his family, and the post-colonial scene in India·Contains 400 color illustrations, including those of art exhibited at Art Heritage gallery, previously unpublishedThe doyen of India's art and theater scenes, Ebrahim Alkazi has been credited with garnering worldwide visibility for Indian art. Ebrahim Alkazi: Directing Art explores how his unique way of locating Indian art within a broader framework led to several formal engagements with artists such as MF Husain, FN Souza, SH Raza, Gieve Patel, and Anish Kapoor, among others. This volume brings together over 400 paintings, many of them exhibited at Art Heritage, and previously unpublished. They chase Alkazi's landmark exhibitions of European modern art in 1954, a result of his and his wife Roshen's passionate engagement with contemporary artistic production. Featuring several conversations and essays, Directing Art provides a context for the Alkazis' participation in the evolution of a transnational history of modernism, and their long association with the Progressive Artists Group. Also included is an intimate portrayal by Amal Allana, Alkazi's daughter, who talks of her father's passion for art and theater, his revolutionary multi-disciplinary style, and the bohemian world of Mumbai's post-colonial art scene. A chronicle of the remarkable life and work of Ebrahim Alkazi, Directing Art is an invaluable education in Indian art.

Paperback. Every theater director will oversee a new play process in their career- here is what to expect and how to prepare. Drawing from over 20 years of experience as a freelance director, and as the Artistic Director of LCT3 at Lincoln Center Theater, Evan Cabnet combines the creative with the pragmatic to provide an honest, useful, and entertaining look at the art of directing a new play. Integrating practical advice with personal experience, Directing New Plays demystifies the process of directing a new work. From developing a creative vision to navigating the challenges of collaborative art-making, this book offers a comprehensive look at the director's role in the process and the tools they use at every step, including development (readings and workshops), pre-production (casting and design), rehearsal (staging, working with actors, rewrites, and run-throughs), tech, previews, and opening a world premiere production. Incisive, supportive, and clear, this book is an indispensable resource for theater directors looking to begin or to sustain a career in new play development. "A practical guide to directing a new play, offering a step-by-step manual of the process using personal examples from 20 years of new play development experience"-- Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Kevin Kline, Patti LuPone, Chita Rivera, Olympia Dukakis, Sam Waterston, and many more lend their voices to The School of Doing, a comprehensive guide to the craft and teachings of internationally renowned stage director and educator Gerald Freedman, including lessons on acting, directing, text analysis, comedy technique, camera technique, Shakespeare, musical theater, design, pedagogy, and the business itself. Foreword by Mandy Patinkin.

Lessons from the Set is a comprehensive filmmaking guide that takes a cinephile’s “Do It Yourself” approach to low-budget indie film production and distribution. The book is peppered with filmmaking tips and tricks, as well as valuable, practical insight into the process of writing, directing, producing, and distributing commercial feature films on a low budget – whether you’re working with $1,000 or $1m. You’ll learn how to write, direct, produce, and release your film to theaters, tackle festivals and handle press, create a marketing plan, get reviews, and approach the filmmaking process with both an artistic soul and an entrepreneurial mindset. After releasing his debut feature film to wide acclaim, filmmaker Usher Morgan (Prego, Windblown, Pickings) decided to write a filmmaking book which detailed his approach to writing, directing, and producing his own work, as well as the steps he took to distribute and market his film, Pickings, and release it to theaters across the nation. Lessons from the Set: A DIY Guide to Your First Feature Film, from Script to Theaters is the perfect gift to any aspiring filmmaker, it’s an essential guide for anyone who wants to tell stories and make movies for a living.

Until very recently, directing wisdom was passed on in the form of "tips". Continuing this tradition, you will find them ranging from the way set a scene to directing the actor on the way to laugh. The tips are clear, concise, evocative, and constructed to give you a better day in rehearsal and performance. A buffet of ways to improve immediately that you'll refer to over and over again!

Volume 3 of this authoritative and wide-ranging history of American theater examines the theater after World War II, through Broadway and beyond, as well as regional theater across the country. Contributors also analyze new directions in theater design, directing, and acting, as well as key plays and playwrights through the 1990s.

This book provides thirteen introductory essays on every aspect of the work of Samuel Beckett, paying particular attention to his most famous plays (e.g. Waiting for Godot and Endgame) and his prose fictions (e.g. the "trilogy" and Murphy). Further essays tackle his radio and television drama, his theater directing and his poetry, followed by more general issues such as Beckett's bilingualism and his relationship to the philosophers. A chronology of Beckett's life, a list of French and English titles and a list for further reading provide additional reference material.