No comments about Dance Teaching Methods and Curriculum Design.

5 comments about The Andy Griffith Show.

1. This is the book I have been searching for to answer those unanswered questions. I wondered what happened to the first Floyd (an older gentleman), why Ellie abruptly left after the first season, why Don Knotts left after season Five, etc... This book explains what happened behind-the-scenes.
   
   The book is broken down into sections: The Production, Developing a Cast, Changes in the Cast, Going Out A Winner, and more. It offers up the thoughts of the producers, directors, and cast members including quotes from Andy Griffith and Don Knotts on their take of a situation. It's an informative, easy read that focuses on the development and inner workings. It brings about a certain personal closeness between the reader and cast.
   
   If you're looking for a book strictly centered on the on-screen characters, check out The Andy Griffith Show by Ken Beck and Jim Clark. You'll find out the Floyd(the on-screen character) is married, has a dog named Sam, a son and so on. Everything you wanted to know about the on-screen folks is in that book. However, if you want to know about the real folks and what went on behind-the-scenes, The Andy Griffith Show by Richard Kelly is the book for you.



2. First published in 1981, Kelly's book was the first of what has become a groaning bookcase of titles devoted to one of television's most beloved sitcoms. To me, it is still one of the most satisfying. Far from being a gushy trivia tome, Kelly's book takes a scholarly look at the factors - casting, production values, writing style, etc. - that have contributed to TAGS enduring popularity. Fans who don't want to think that hard might find the book, shall we say, dry as dust. Others will find it hard to put down.

   The insights of principals on both sides of the camera, from Sheldon Leonard and Aaron Ruben on the production end to Andy Griffith, Don Knotts and Jack Dodson on the performance side, are fascinating. The book even includes a working script (season four's "The Sermon for Today") from Griffith's personal collection, which Kelly presents as good illustration of Mayberry's (usually) unhurried pace and the show's character dynamics. He's right, but a more appropriate script to share would have been "Man in a Hurry" (often cited as the series best episode) from season three.

   The book closes with summaries of all 249 TAGS episodes, including official script titles, filming sequence and airing order.

   All in all, this is a valuable resource for serious TAGS devotees and anyone interested in the nuts and bolts of television production. Those wanting just another feel-good book about the folks of Mayberry had best look elsewhere.




3. This was the first book I ever bought on The Andy Griffith Show. My copy is now dog-eared, with some of the pages almost ready to fall out. I love it!! The comparisons between TAGS and other classic TV shows are a very interesting read, and the two scripts, "Sermon for Today" and the unfilmed "Wandering Minstrel," are the highlight of the book! I could clearly picture the scenes and dialogue in the scripts. If "Wandering Minstrel" had been filmed, it would've been a big hit! Anyway, go buy this book!



4. This is the first and still definitive study of the show. It contains extensive interviews with the major stars, directors, and producers from the show. It also contains two full scripts: one never seen or performed before and the other "The Sermon for Today" (NOT "Man in a Hurry" as another "reviewer" appears to think!) Also provides concise summaries of all 249 episodes. A terrific buy and a must read!



5. I love The Andy Griffith Show, and only want to read books on my favorite show written by authors who love it with the same enthusiasm as I feel. This book read like a term paper -- the writing dry and tedious. The only chapter of real interest? -- one containing the complete script of "Man in a Hurry" just as the actors saw it, and then another script that was never filmed for some unknown reason.

   There must be other better tributes to this show. Bypass this one and keep looking.

3 comments about Enjoyment of Theatre, The (6th Edition).

1. Let's face it. Most introductory textbooks are pretty much alike: a little history, a little theory, an overview of what theatre professionals do, etc. Cameron and Gillespie give the student a leg up by writing their chapters in a user-friendly format, with chapter objectives, bulleted (main) points, and key terms at the end of the chapter, as well as web sites for further information. They also provide headings and subheadings as chapters progress, helping us digest the material in conceptual chunks rather than one long narrative. As one reviewer pointed out, there are no cuts from plays inserted, but that gives the instructor the freedom to choose his/her own plays to examine in class. Overall, I think it's an excellent introductory text. I especially like the attention to script analysis using Aristotle's Poetics.



2. This book is meant to be informative. It is. Unfortunately, only about 15% of the book contains useful information. It actually takes the time to explain what a standing ovation is: "To show exceptional approval, audiences may stand and applaud (give a standing ovation)." It goes on to explain that if an audience finds something funny they will laugh. Imagine that.



3. The story of the textbook is to give students an appreciation of theatre, to delineate theatre from other Art forms such as sculpture, dance, and painting as well as film and sporting events. The text gives a concise and accurate, although thoroughly Western, overview of theatre history with brief emphasis on African and Asian theatre. One is taken Chapter by Chapter through a discovery process from the very broad appreciation of theatre as a performing art to the very specific nuances of various Asian performance techniques. Along the way there are three units broken up into various chapters. Unit one focuses on audience relationship to the stage, the social context of theatre, textual and visual analysis a.k.a audience appreciation. Unit Two analyzes the state of theatre today and occupations in theatre. Unit Three focuses entirely on theatre history with chapters on ancient theatre, the middle ages, neoclassicism, romanticism, avant garde, eclectic and current theatre, and concludes with world theatre (mainly African, Islamic, and Asian). The book's weaknesses are its decidedly Western and Caucasian focus, very little of the text is devoted to non-white theatre and (although much improved on other texts) there are very few multi-cultural photos and illustrations included. Also, there are no plays included in the text. It is difficult to encourage script analysis if no script is included, and one page of a script with blocking scribbled all over it does not suffice. There is not much focus on design besides explaining the role of designers in the theatrical process and showing different illustrations of various historical theatre buildings or areas. Lastly, not knowing how to eloquently state this, there is something disturbing about siphoning Chekhov, Ibsen, the Federal Theatre Project, Kathakali, avant garde, Ira Aldridge etc. to two paragraphs or less. By trying to include so many various historical topics in one relatively small text, the authors have sold many of them short. Overall, If used in combination with lectures or texts on design, live performance, and a collection of world drama or scripts this is a solid and very useful text.

No comments about One Act: Eleven Short Plays of the Modern Theater.

2 comments about The Life of the Drama.

1. Bedrock. Take all the books you want about the novel, the theater, film, and the whole of literary criticism, none of them speak more accurate or truer things about storytelling than this book. I can't believe it isn't a classic and used in universities throughout the country as a standard reference.



2. Discusses characteristics of the various genres of drama, such a tragedy, farce, satire, etc.

3 comments about Irreverent Acting.

1. This is the greatest book written by the greatest acting teacher of all time. The content is amazing and overwhelming to digest all at once. Irreverent acting is the actors Bible in my opinion.
   
   Eric is a genius.



2. I'll admit that at first glance Eric Morris's System can seem scary and misaligned. But I believe it to be a very misunderstood system.
   
   I too was skeptical in the beginning, but after studying this technique (with Eric, but mostly with Anthony Vincent Bova in NYC, Eric's protégé), and after seeing the difference from "acting" and what this Work creates, there's no way I'd ever go back to the "acting" form.
   
   Eric Morris teaches the actor how to react honestly and in the moment, including everything that's going on inside and out-the other actor, the props, the imagined objects that one might be working for-that impels you to "do" whatever the character is required to "do", but out of a real reaction, not just because you're doing it.
   
   I've studied Adler, Strasberg, Meisner, and with Robert Lewis. I've hashed through the process of verbs, actions, objectives, obstacles, and onward; and they're all good and dandy for figuring out what's going on in a script, what the characters are doing and why; but other than that, these techniques never helped me figure out HOW to make it real to ME... How to get to a place where I'm actually functioning from a real, organic, truthful state ... How to get to the point where I am "doing" all the script tells me to do, fulfilling the "actions," out of an honest REACTION to what's going on.... Not just "playing" as if I am; how, in essence, creating the realities of the character....
   
   No matter where you go, all the great teachers (and actors) say the same thing, "Acting is reacting." Even the most used and cherished word in the actor's language, LISTENING, is about focusing outside of yourself and REACTING to what is there. This Work trains the actor to create the stimuli that will fulfill the demands of the piece, specifically, wholly, and with Truth.
   
   For the most part, plays and movies are imagined circumstances, and we as actors, have to create stimuli to react from, so we're not just faking, or indicating our performance. I'd rather watch two people have a relationship on film or on stage, than two actors reciting words, no matter how well they "act" it. If they don't believe it, I won't. This System trains you to create those stimuli and REACT to them honestly, fully and truthfully.
   
   A crucial part of Eric's System is based on Instrumental Work, which is the process of identifying blocks and fears and tensions to expression and, one-by-one, through the use of hundreds of exercises, eliminating them. It's really about self-awareness-learning about yourself and how you function, so you can "get out of your way" and function truthfully on stage or film and get to where you need to get to in a scene. I think this is the aim of every method, but I feel that this System is the only one to address the issues of the actor on a personal level. If I'm tense and depressed (in real life; me the actor), I'm not going to be able to REACT truthfully in a scene where the character has just won the lottery and is jumping with joy. If I push for the emotion, I'll be faking and will "act" that I'm joyful. If this is enough for you, then Eric's work is definitely not your thing. But if you're looking for creating reality and REACTING with truth, nothing surpasses this Work.
   
   I know that Meryl Streep, Brando, Ed Norton, Johnny Depp, Jack Nicholson, Al Pacino, Robert DeNiro, and a handful of other amazing actors don't fake it, don't just indicate the realities of the character and the circumstances. They create them. Be it imagined stimuli they are creating, or through the available stimulus around them, they open themselves up and REACT truthfully to everything -the other actors, the set, the space, the props, the object or person via Sense Memory, etc. I KNOW they do this for a fact! They've talked about it for years.
   
   Eric helps you get to the place that they do-where you can function truthfully, where your instrument is accessible and available, where you are open and are willing to go where the character needs to go, emotionally, psychologically, and physically.
   
   My advice is read Eric's books. If they pique any interest in you, if they strike a cord, study with Eric or Anthony, or at least contact them for further information about the system. I think you'll be quite surprised and utterly amazed at the tools this Work can provide you as an actor.



3. Once, in Eric Morris' Acting class, I mistakenly referred to this book as Irrelevant Acting. Nothing could be farther from the truth. This is one of the best books on acting ever!

   The exercises and work in this book have enhanced my acting tremendously, given me a way of working that is unmatched by any other acting book I've ever come accross (and I've read a ton of em) and has made me a powerful teacher and director in my own right.

   It explains Eric's Technique of Freeing the Instrument (Explained in great detail in his No Acting Please which should be read prior to this book.) It explains a new way of looking at material and personally connecting it to the actor through choices and choice approaches. It truly helps make the actor an artist in that he creates and is truly using himself.

   If you utilize this work and combine it with some common sense of your own (if you don't combine it with some common sense--some of it can get you into trouble) your acting will take on a new dimension; you will be more open as an actor artist and human being.

   You will learn how to free and tap into your emotions. How to make personal choices for your material. How to make Choice approaches or tools to connect you to the work and more! Read this book. Do the exercises. I can't recommend it enough.

   Do read No Acting Please first and follow it with this amazing masterpiece.

1 comments about Film: An International History of the Medium (2nd Edition).

1. This is a fairly good introduction into international film. Its relative brevity is perhaps a plus for beginning students of film, who do not want to buy several books. But I found it inadequate. It only briefly mentions the major names, films, styles, themes, movements, etc, and as a survey its approach is too linear. Supplemental books are needed to get a satisfactory understanding of the history. The book is a summary that works to increase your curiosity.

2 comments about Theory/Theatre: An Introduction - 2nd Edition.

1. *Theory/Theatre* is a remarkable pocket-sized guide to the major contemporary trends in critical theory and their relationships to performance and performance studies. Fortier's prose is lucid and eloquent. He handles difficult concepts with succinct yet not simplistic essays that tie the theoretical concepts to instances of performance. I have used the book with undergraduates, and it has helped them make sense of the intellectual histories, differences and applications of, for instance, psychoanalytic criticism, post-structuralism, feminism, reception theory, etc. Fortier's concluding essay on the uses of theory is both skeptical and inspired by theory, and gorgeously written. Such a pleasure to work with an interpetive text that is truly knowing of its subjects without seeking to outdistance or subdue them!



2. Fortier's book is a wonderful summary of the major theories concerning theater and performance. He presents a familiarity with everyone from Freud and Hegel to current leading theorists. I would recommend this book for anyone interested in critical theory of theater, especially for students. Fortier's style is engaging and easy to read.

5 comments about The Crucible.

1. I love this book. It is accurate and an easy read. I finished it in about a day. In addition to the the play, there are other related readings enclosed which give more insight to historical events and other perspectives. Out of all the copies I own, this is one of the better ones. A great deal, ships quickly and reasonably priced.



2. I have to admit that I was a big fan of L.A. Theatre Works long before I purchased The Crucible. L.A. Theatre Works has a weekly presentation of its performances on Sonic Theater, a XM Radio station.
   
   This particular production is pretty much an all-star cast with the likes of Michael York and Richard Dreyfus. I purchased it as a tool for teaching The Crucible in my American literature class.



3. The L.A. Theatre Works' rendition of Miller's _The Crucible_ is an excellent demonstration of the actor's craft, as the tenor, pitch and emotive power of the play bring the characters to life. On the recommendation of Amazon reviewers, I used this for my English class (in addition to the Daniel Day-Lewis / Winona Rider DVD and a class read-around) to get a feel for the play and the various theatrical interpretations of the work.
   
   As a previous reviewer noted, there are some differences between the audio version and Miller's script, but they are minor, and if one is not using the entire CD, a moot point. The performances are fantastic, and, as others have mentioned, it certainly gives life to the written word. Outside of a classroom, I couldn't recommend it, but as a teaching tool, it is first-rate.



4. I used this as a review of the play for my students and was very pleased with the performances. A little disappointed with some of the cuts they made, but do realize the necessity for cuts.



5. I find that books on CD help my 17 year old get an edge on his English projects. He has a reading disability that makes conventional book reading difficult so books on tape or CD are an answer to his problems.

5 comments about Your Film Acting Career: How to Break into the Movies & TV & Survive in Hollywood.

1. Although this book has good information for someone starting out in Hollywood, it is VERY outdated and anyone reading it definately needs to read newer books on the same topic (and there are plenty of them!).



2. When I moved to LA to start an acting career, this was the first book that I bought. Written with humor, and straight forward, to the point info, it answered all of my questions, and then some. 12 years later, I am still working in Los Angeles, and still using "Your Film Acting Career" as my reference guide. Over the years, Lewis's updated editions have carried me from black and white proof sheets into the digital era of the Hollywood business. Before you leave home to head west, as soon as you arrive, or in your 12th year in LA, this book is as essential to any actor and their career, as the Thomas Guide is to any driver and their destination.



3. Vey helpful. Also check out Twelve Step Plan to Becoming an Actor in LA. The combo is a nice start for those getting started



4. I am reading this in my acting class and it reminded me of a story my acting teacher told. I'll share it now. In the 60's Dustin Hoffman, who represented the New kind of acting was in a movie with John Wayne, or somebody who represented the Old acting. In one scene Hoffman's character stays up all night running from Wayne (or whoever) and so he (Hoffman) stays up all night, too. He says to the old actor "My character didn't sleep, so neither did I. You should try this style of acting". To wich the Old acor replyed "No thanks. I prefer to ACT." Pretty funny, eh, although the way my teacher told it it was even better.

   Just get this book it will really help yo're acting!!




5. Hi - this book is great for someone who has almost no experience. If you have been acting for any period of time at all, you will know most of what is in the book. Not to mention, some of the information is a little outdated. But that being said, it does have good info. in it for those just stepping into the business.