3 comments about Past into Present: Effective Techniques for First-Person Historical Interpretation.

1. I have participated as a living history first person interpreter for over 6 years, and have been a visitor at many living history sites across the country. I am also the period costume coordinator for a living history site. I have seen first hand many effective and ineffective presentations.
   
   While reading and searching for textbooks for our upcoming "Dame School" program for young ladies at our site, I came across this book. Since the text is clear and written to be interesting as well as educational,I have chosen it as a textbook for our "school". I believe our young students will be able to relate well to the book, and that we will be able to use this book to guide them to more effectual presentations. I also highly recommend it for adults.
   
   This book is very good at giving hints on how to engage visitors in conversations useful in imparting stories of the site one is working, as well as methods to diffuse potential problems. It presents varied types of sites which were reviewed by the author, and gives good examples of what is effective and what is not. This book also discusses class distinctions and first person interpretations of difficult and traumatic events and activities of the past, such as slavery. To give a well rounded view of history, first person interpreters can't just present the rosy side of life!
   
   The extensive listing of living history sites which is in the back section of the book would be very useful to persons who are considering the hobby or profession of first person interpretation.



2. Television, movies, computers, even video games have changed the way we look at history. Recently written books on history are now in a style that gives the reader a greater understanding of what our founding father's and 19th century pioneer's daily lives were like.
   Everything, it seems, is three dimensional today. Try visiting an American History museum - it's not your father's museum, that's for sure!
   In her book, "Past Into Present," Ms. Roth just about covers every aspect of presenting history in all its glory and gore by using the process known as 1st person. First person brings the folks from the distant past back to life by having a re-enactor or a museum docent dress in period clothing, doing a job or a chore from the past, and speaking as if they actually ARE that long-dead person, alive again, here to share their knowlegde of times gone by. I, myself, impose a 1st person technique for my civilian impression in the 21st Michigan Civil War reenactors, and I must say that "Past into Present" truly helped me understand the importance of what I am representing while doing my impression. Through her book Ms. Roth also helped me see the pros and cons of being a 1st person living historian as well - how to stay in character, for instance, without jumping back and forth between first and third person.
   From what I have seen at some re-enactments - and even at a museum - some living historians do not give the past the justice it deserves. They are the ones who should own this book as well. I've learned to give the reverence these folks from the past that we are emulating the respect they so deserve.
   The writer can get a bit wordy (so can I, can't you tell?) but if you are one who is a bit more passionate about the past and would rather get deeper involved in history than the average person, then I would suggest you taking a gander at this book and read how you can become one from the past into the present at your next reenactment.



3. As a new recruit in the growing international army of Civil War reenactors, I was anxious to evolve past the usual march-and-shoot mass maneuvers into effective first-person interaction with spectators. But having never even seen a living-history interpreter, I wasn't sure what to do. Then I found Ms. Roth's delightful book on the internet! She interviewed scores of experienced interpreters at the best living-history museums in the United States and Canada to find out how they hook -- and keep -- the interests of their visitors. The result is some imaginative out-of-the-box approaches that make visitors think they're being entertained instead of educated! The fun that the interpreters obviously have with their roles is infectious -- I could hardly wait to try it! This is a MUST read for anyone who's ever thought of going to a historical reinactment as either a participant or a spectator.

5 comments about The Spanish Tragedy (New Mermaids).

1. There have been great controversies over whether The Spanish Tragedy is the greatest English play to have ever been composed, or rather a fantastic counterfeit of past playwrights. Either way, this revenge tragedy delves into the realm of human suffering and selfishness while searching for answers in the heavens or in the wicked wheel of Fortune. While some characters are a bit melodramatic, one must be aware that melodrama was one of the few ways to properly express emotion on the Elizabethan stage. It's a quick read, but not for the light of heart or mind when dealing with the fanciful language and tranfers between long and even-redundant soliloquies and sporadic stichomythia. Don't expect this to be any sort of heart-warming play; there's a reason it's called a tragedy.



2. The Spanish Tragedy (1592) was a remarkably popular Elizabethan revenge play that substantially influenced other Elizabethan playwrights including Shakespeare. The gruesome, neo-Senecan melodrama, Titus Andronicus, dates from 1594; Hamlet was first performed in 1602.
   
   I knew little about The Spanish Tragedy at the time of my first reading (and review) in 2003. In retrospect I failed to appreciate fully Thomas Kyd's Senecan framework, especially the significance of the prologue by the ghost of Andrea, the role of the supernatural Revenge, and the varied scenes in the underworld of Roman mythology - all found in the first act. I am not certain whether I even realized that the ghost Andrea and Revenge remained on stage throughout the play, invisible to the actors, but clearly visible to the audience.
   
   I wrote that although I was confused with intervention of pagan gods and that the numerous murders seemed excessive, I still considered Kyd's tragedy warranted four stars. Having recently returned to The Spanish Tragedy (as part of a collection of Elizabethan revenge tragedies), I am now much more enthusiastic (a solid five stars).
   
   I no longer find the two intertwined plots to be puzzling. I now see the thoughtless injustice suffered by Hieronimo in the Spanish court as mirrored in the random, capricious behavior of the gods: the confusion the deceased Andrea encountered upon entering the underworld, Proserpine's arbitrary, even frivolous suggestion for Revenge to aid Andrea, and the gods's uneven punishments meted out to the murderers of Horatio (and to others only marginally involved with crime). This disturbing parallel reflects Kyd's nihilistic and pessimistic view of life: not even the intervention of the gods offers any assurance of rational justice.
   
   New Mermaids edition: The footnotes come in two forms. The first provides definitions for unfamiliar or archaic words, or words whose meanings have changed significantly. The second offers explanations of plot subtleties, differences in interpretations by experts, and possible influences on later plays by Shakespeare ans others. Also, translations are provided for Kyd's frequent quotations in Latin, many from Seneca's writings.



3. Hey everyone! Don't even bother paying ANY attention to the ...peter kline spouted in his horrendous review of The Spanish Tragedy. Shakespeare wrote Kyd's masterpiece? Give me a break! And I suppose you're also going to say that Shakespeare secretly wrote Marlowe's plays as well, right? Kudos to Mr. Richard for being a well-informed reader of the English Classics! And as for Mr. Kline, you should do some research ...



4. J.R. Mulryne's edition of *The Spanish Tragedy* is without a doubt the best that may at present be bought: informative, helpful, intelligent and accurate in introducing the text, presenting it, and glossing difficult words and phrases where necessary. The play is among the most exciting and artistic of its period. Kyd writes, and constructs his plot, with a level of skill comparable to that of Shakespeare, who was much influenced by *The Spanish Tragedy*, particularly in writing *Hamlet*, which is possibly yet "richer", but undoubtedly less clear and focused. Kyd shows us in an extremely sophisticated way the workings of revenge, both at an earthly and at a supernatural level. From the beginning the audience knows, in a way that the characters do not, that the supernatural world will insist on revenge. The pain of those who suffer injustice here on earth and clamour for revenge is painful to behold. Ultimately, however, in a baffling way, evildoers are punished: Hieronimo, the main character, manages to take matters into his own hands after exhausting all other possibilities, and thus ironically enacts the wishes of the higher powers. The FORM of Hieronimo's revenge is extraordinarily interesting: under the cloak of art - of a theatrical plot - he manages to kill his evil opponents quite easily. The tension between "art" and "life" is thus handled by Kyd in a very innovative fashion which still shocks modern spectators and readers. The role of language, too, is called into question: much of the play demonstrates that in real life finally action does speak louder than words, which often do not make their point or simply get ignored. Any reader who wants to get a notion of the superb quality of plays written by Shakespeare's contemporaries is certain to admire and enjoy this striking work of art. - Joost Daalder, Professor of English, Flinders University, South Australia



5. There is growing evidence that while this play was attributed to Thomas Kyd on the slimmest possible evidence, it is actually an early play of Shakespeare. It's similarity to Hamlet has so often been noted that Kyd is supposed to have written a hypothetical earlier version of Hamlet that has never been shown to exist. The way to figure out for yourself who wrote this play is to read some of it aloud. You'll find that its speaches have a musical quality that echoes those in Henry V (which may have been written at about the same time). Also, compare one of its early scenes with a very similar one in Macbeth. The more you read this play aloud, considering the music of its poetry rather than just its imagery and thematic strucure (it's very early Shakespeare) the more you're likely to be struck that here is a masterpiee forgotten (except to scholars) that is worthy of frequent theatrical performance. Perhaps you'll be moved to produce it yourself.

No comments about Shakescenes: Shakespeare for Two (Applause Acting Series) (Applause Acting Series) (Applause Acting Series).

No comments about Theatre: Brief Edition.

1 comments about American Theatre Book of Monologues for Women.

1. I got this book looking for a variety of Monologue. I feel this book is lacking in the comic genre. All the monlogues are very heavy. Even Monologues written by Durang and other humorous Authors are the most serious parts in their plays. Also doesn't give much range even in dramatcis genre. Good if you are a female in your mid to late 30's (I'm mid twenties)

1 comments about Case Studies in Interpersonal Communication: Processes and Problems (Wadsworth Series in Speech Communication).

1. I have used this textbook for several years now, and I continue to have excellent student response. The case studies give students a way to discuss communication theories in a variety of applied contexts. The cases include a Who's Who list of excellent scholars from the field of communication studies. It's fun to see how they write the theory-linked cases.
   
   One of my colleagues commented: "I see your students reading dog-eared copies of that book. They must really like it." They do. Better yet, they love discussing what they read.

3 comments about Golden Boy: The Untold Story of William Holden.

1. Holden was such a great actor, but a poor family man. Alcohol is the demon here.



2. William Holden is one of the most underrated actors of Hollywood. Evidence by far is that this is the only book on his life. The book is a heartfelt tribute to what appears to be a caring, thoughtful and professional actor who always remembered the ensemble of people who helped him reach stardom. It is also a very sad tale of a person who never overcame his demons and was finally killed by them. His life and career were cut short and it is our loss.



3. golden boy digs deep into the torment of william holden's life.the rise of a bit part actor to oscar winner.the highs and lows of life in hollywood. achieving success in front of the cameras but ultimately failing in his personal life.this book is for any true fan of the golden age of tinsletown

1 comments about In the Heart of America and Other Plays.

1. a collection of plays. i first became aware of wallace when my university did one flea spare, which i was extremely impressed with for its depth, creativity, emotional focus, and brechtian wit. i really enjoyed one flea spare on the printed page; i truly believe this is a play that deserves to be put in the same class as the other american greats, such death of a salesman, mourning becomes electra, and the crucible. in one flea spare the action involves four people impatiently waiting out a quarantine sentence at the time of the great plague in london and its themes include the loss of innocence and class and gender struggles. the final play, trestle at pope lick creek, is definitely the second best of the plays. set in a rural community, the play's unflinching look at a world of poverty and lack of opportunity is chilling and memorable. there were parts of the other 3 plays that were also well done, although in general they were not as tightly scripted. it is interesting to see wallace's general style becomes more apparent in reading these plays, in her language and her use of such devices as playing with time. in the heart of america is set during the gulf war and the the war boys concerns three men watching the mexican-american border for illegal immigrants. slaughter city is about workers in a slaughtering factory who are trying to preserve their union. all in all this is definitely an impressive collection of plays by a modern master.

No comments about Dance Composition Basics: Capturing the Choreographer's Craft.

2 comments about Parade: Piano/Vocal Selections.

1. This musical is nearly flawless. I have analyzed this show to great detail and I find it near-perfect. I love Jason Robert Brown (lyrics and music) - he's incredibly talented. As for Harold Prince, the director, he is a the winner of several Tony's, and Alfred Uhrly is just amazing as always, winning awards in several media categories. I recommend this musical to anyone who wants to be challenged musically and moved emotionally. This musical pushes the theatre up to new levels of excellence, which should be every composer's/director's goal.



2. Parade is one of the most auspicious debuts by a theatre composer in recent memory. Jason Robert Brown, then in his mid-20s, joined legendary 20-time Tony-winning producer-director Harold Prince and Tony-, Pulitzer- and Oscar-winning playwright Alfred Uhry for a musical about a Jewish man living in Atlanta in 1915 who was wrongly convicted of the murder of a young girl. The result was a critical success and one of the finest theatre scores I've ever heard. I anxiously awaited the release of this score so that I could play the songs and sing the moving melodies at home. The only problem is that Brown is such a talented "rock pianist" (think Jerry Lee Lewis meets Sondheim) that his piano parts are almost unplayable by amateurs such as myself. My advice: buy this book, and get someone very talented to play it for you.