5 comments about The Theater and Its Double.

1. I have read this at least once a year for the past four years and it changes my life every time. As I get older and more mature, so does my theatre theory. This is a theatre theory book that all collaborators should read.. from actors to designers, to dramaturgs and directors to Stage mangers and so on.



2. This is definitely required reading for theatre students. It will help you better understand the shift in modern and experimental theatre that has transpired over the course of the last century. It will also help you better understand the basis for a lot of horrible theatre concepts staged by overzealous students and professors, the world over.... Be wary of people throwing around the Theatre of Cruetly catchphrase as if they know what it means....



3. Antonin Artaud's forward thinking and innovatiove views on the theatre are an essential read for any practisioner of the theatrical arts. Wade through the madness and see the light.



4. Antonin Artaud's obsession -- and I don't think that's too strong a word in this context -- lay in building a new philosophical framework for live theater, one that would give audiences unmediated access to powerful metaphysical truths. This book is keystone text that illuminates the rest of his life's work. Ultimately, it's not a satisfying one because of its repetitive and mystical nature and because, placed in historical context, Artaud's conception of what should constitute living theater seems somewhat constricted to later, media-saturated generations.

   Let there be no mistake, however. The theatre francais of Artaud's day was hidebound by convention, a convention that surrealism took as somewhat of a challenge to overturn. Artaud's plea for a theater that would de-emphasize the spoken text and accord more emphasis on light, sound, movement and elaborate combinations of anything non-verbal that could be brought to bear on audiences is part and parcel of the surrealist rejection of theatrical convention. It is striking that Artaud, himself a marvelous film actor, dismissed out of hand the notion that motion pictures as an art form could do what live theater could not. In this respect lies the most obvious example of his limited vision. Film would eventually provide the director with all the tools that Artaud dreamed of for his Theatre of Cruelty. Bergman, Fellini, Kurosawa and Tarkovsky would all draw heavily on the notion of subordinating conventional dialogue to image and sound. Artaud's notion of theater is further undercut by the rise of television, its ubiquity and, in the age of digital electronics and computers, its raw immediacy. Television gives us unmediated images of real violence and conflict, of death on a horrendous scale, but many of us would rightly question whether being directly confronted by the unreasoning cruelty of the world we live in is especially ennobling or enlightening. In fact, many of us might argue the opposite, that it coarsens us, that it hardens the soul against outrage.

   So, why give Artaud three stars for this book? Because there are some very crucial things that he gets right in this collection of essays. Most importantly, Artaud draws repeated attention to the flaws of complacency in theatrical production. It took an Artaud to remind Western civilization that theater's roots lay in public spectacle and religious rite and that its estrangement from those roots was killing theater as a living form of art. It took an Artaud to take theater off the stage and put it into the public space surrounding the audience, breaking the plane of conformity that separated actors from audience. Artaud, perhaps most ironically, reminds us that we call theatrical performers "actors" for a very good, but forgotten, reason -- their art at its peak acts upon the audience with a transformative power.

   This very dense and, at times, mystifying collection is worth the effort required to read through it and come to grips with intellectually. I would especially encourage anyone interested in film as an art form to read Artaud and ponder how his insistence that a wide range of sense data can reconnect an audience with vital truths could be adapted to the cinema. For here, in a new art form that is still willing to tap into daring innovation, is where Antonin Artaud's passion is most likely to find a permanent home.




5. I'll admit that this is the first time I've read Artaud. And I'll admit that when I began reading the first section, The Theater and the Plague, I thought on numerous occasions, "Where is this guy going with this?" Upon concluding this section, and after picking myself up off the floor, I returned to the beginning for a another read through, and again, afterward, found myself floored. Artaud presents a take on theatre like none other. A take that many may disagree with, but few can deny the illuminating profundity of his analogies, correlations, and general theatrical philosophizing. But don't think Artaud is without a sense of humor. With a blurt like, "I saw some sort of human snakes, otherwise known as playwrights, explain how to worm a play into the good graces of a director...", whose not going to let out a chuckle? (Especially if you're guilty). In addition, this book boasts some of the best writing that I've ever read. His writing is crisp, unmasked, and intellectually and visually stimulating. And as an added bonus, nine "I'm an ugly man smoking a cigarette" black and white photos precede the text. At $10, "The Theater And Its Double" won't disappoint.

5 comments about Magnificent Monologues for Teens: The Teens' Monologue Source for Every Occasion (Hollywood 101, 4).

1. The monologues are very good, but they are shorter than two minutes, so that didn't help us find an appropriate monologue for the high school musical. It would probably be a good book for junior high school.



2. Want to make a lasting impression at an audition? Then buy this book! It is written in a format that is accessible to all ages and the material is easy to memorize, which will help your performance be more relaxed and natural. The monologues in this book are also structured in a way that allow young actors to put their unique stamp into their performance. Now go and break a leg at your next audition ... that is if you have the book!



3. I am always asked at auditions where I got that monologue from! Most books for teens and kids are just comedic, yours have comedic and dramatic so I can be prepared for any audition.



4. Excellent!! Great collection of monologues that helped me get an LA agent. Would recommend it to someone if they could only buy one monologue book.



5. Chamber's monologues are so realistic and the characters come to life with minimal effort and it has a lot to do with the talented writing he puts forth in this.

5 comments about Historic Costumes and How to Make Them.

1. This is an ok book. It gives you ideas and the patterns are very basic. There are better books by dover on this subject.



2. This book is a great resource for designers. The text gives lots of clues to creating a garment and the patterns are wonderful for draping.



3. There is more to Historic Costumes than Medevil times, but that is all this book covers. I was not happy with it and returned it. Improve the description so that it specifies the time period covered, and it would be a great book.



4. This book gives a extremely brief overview of many styles of clothing throughout the last 1200 years. If you are after detailed instructions on how to make medieval clothing, then this book is not for you. However, if you are an accomplished tailor and can work from line drawings, you have the right book.
   I did not find this book particularly helpful with how to make the clothing, but it did show me what styles were around.
   Be aware that this book gives no measurements nor types of materials used, nor does it assist the serious re-enactor.
   This book is aimed, in my opinion, at someone who is planning to attend a fancy dress party and who intends to wear the outfit they make once only.



5. I was pleased with the number of patterns and detailed instructions in this book. The patterns need to be enlarged or drawn to scale in order to use them. It would be very useful for anyone who makes costumes or who is interested in fashion.

5 comments about Lighting for Digital Video & Television, Second Edition.

1. This is an amazing book. The guy is a true pro and explains everything you need to know to get takes that look professional on the first try.
   
   The book is really well written and organized. I blows by while you learn all the hows and whys of lighting video.
   
   I recomend this to anyone who feels that they are not at the professional level with lighting yet. It will change your life.



2. Overall, I think this book is very easy to read. The author starts with the basic elements of lighting and builds on that foundation. I am using it with a lighting for video class that I am enrolled in, but would be very helpful by itself. The pictures really help to guide the process and set up your lighting scenerios properly.



3. This book changed my perspective of lighting being a beginner and it gave me so much insight and the buzz words to work with the pros... Truly enjoyed it and refer to it often! (NO I am not the author)hehe I just really liked it. It rocks!!



4. Lighting for Digital Video & Television introduces the basics of lighting for film and video in a very concise and lucid manner. The information published here will serve the filmmaker with very little or no budget as well as those with professional budgets. The author presents both relevant theory and practical advice. The single best book I have purchased on the subject of lighting for video.



5. This content of this book is consistent with the "DV Expert series" range, which I would say are aimed at the novice who has discovered that 'automatic' settings don't really work in most situations and want to understand why and how to start taking their abilities up to the intermediate level.
   
   There are many books on lighting out there, be it for still photography, stage lighting, etc and they all cover the same basic 3 point lighting principles, however this book builds upon this by showing how certain aspects relate to digital video. It also throws in real world examples of lighting situations likely to be encountered and ways to work with them.
   
   I think this is a great book for anyone with a consumer/prosumer video camera and wants to get to grips with subject lighting.

5 comments about Dishing Hollywood: The Real Scoop on Tinseltown's Most Notorious Scandals.

1. This book is very interesting, part cookbook part Hollywood scandles.
   
   Laurie Jacobson delves into some of Tinsletowns most interesting stories.
   From the murder trial of Spade Cooley (who killed his second wife in the 1940's) to the untimly death of the orginal Edna Turnblat (Divine) Lauie Jacobson tells about the scandals and then shows a recipe connected to that person (After talking about Roman Polanski she shares a recipe for the nachos he at before fleeing to Europe during his rape trial.)
   
   A very interesting book.



2. I love Laurie Jacobson's books and this one is the best yet!!! I love her "juicy little tidbits" about the stars of yesteryear. The stories are very entertaining and I love the fact that she also included recipes to match the stories. A very clever thing to do!!! It's almost like 2 books in one, a gossipy book and a cookbook! I hope she continues to research Hollywood and to write wonderful books about the stars!!!! My only complaint---it's not long enough!!! I am ready for a "Dishing Hollywood II".



3. I had so much fun reading this book! The stories are great and Miss Jacobson clears up a lot of false Hollywood rumors. The best part about this book is that it includes chapters about some forgotten stars like Carole Landis, Dorothy Kilgallen, and Lupe Velez. Anyone who is a fan of classic Hollywood and loves juicy gossip will want this book.



4. I highly recommend Dishing Hollywood The Real Scoop on Tinseltown's Most Notorious Scandals. Laurie Jacobson really knows her stuff and serves up heaping portions of scandal and intrigue of Hollywood's most notorious stars. I have read all of the author's books and Dishing Hollywood is Jacobson at her best. Jacobson brilliantly spins tale after sordid tale, "sprinkles" famous film quotes throughout each chapter and "tops" off with a recipe of the star's favorite dish (or, in some cases, their last meal!). Dishing Hollywood is a tasty treat, and I can't wait for Jacobson's next book!



5. I fortuitously fell into this little gem the day after xmas.....a belated "BEST" present to myself.
   While I already own Jacobson's two other books and hold her in high regard, this book proves that she is only getting better as a film historian and writer.
   She assumes a slick, quasi-cinema noir persona in her narrative and mixes in a Sandra Lee-like easy 'recipe' that takes a not too subtle slam at each of the scandals/stories she relates. The vanity of the 'dish' (aka scandal/tragedy/hard luck story) only enhances the general readability of this book. This is a novel approach that makes an already interesting product even more appealing. I kept thinking that the author did a terrific job with the material she was presenting.
   Aside from the kidding around, this book is really rather fair and factual. The author knows her stuff and relies on knowledgeable sources to substantiate or refute claims made in the book.
   My only criticism of this book is that I wish it had been longer and had covered some other stories that I find interesting and want to know more about. Hopefully there will be a follow-up to this book which will do that.
   Anyway, this is a very good read and worth the $ and time spent reading it.

1 comments about Human Communication: The Basic Course (10th Edition) (MySpeechLab Series).

1. althought this book gives off important info, it leaves us w/ a desire to want and know more. our minds are expanded and challenged we discover a new way of thinking and comunicating with others.

5 comments about Peterson's College Guide for Performing Arts Majors 2008 (author Carole J. Everett) (Performing Arts Major's College Guide).

1. My daughter and I had hoped this guide would give more insight into the culture of each place and the nature and quality of the experience to be had there -- student anecdotes, description of the atmosphere, insight into teaching strengths, etc., as you would find in the Princeton or Fiske guides to top colleges and universities. There is some good generalized information, but the information pertaining to particular schools is very "listy," not descriptive.



2. I was impressed with the breadth of information for a young person in terms of how to go about applying for programs, how to audition, where to look for scholarship money, etc. However, I noticed that there weren't many Ivy League schools included. I was particularly looking for information on Yale because I had heard they had an excellent program in the performing arts. I was kind of astounded that such a school would not be included. I was also disappointed that the book did not offer any evaluative information regarding the reputation of various programs or the rate of students going on to work in the performing arts. That would be really helpful information. Further, after reading the descriptions of a few schools, (note that for Roosevelt), I wondered whether these were written by the author or whether they were based on responses provided by the schools themselves.



3. For anyone wishing to limit the college search to those schools who offer majors in performing arts - music, dance or theatre. It is divided into these three sections. Lists both BA and BFA majors. Very useful to 2 of my kids who are performing arts majors. Cuts those huge college guide books down for a good place to start to look and compare different performing arts colleges. Other listed info is the same as in any college guide - size, SAT average scores, etc. Recommend - I bought two perfoming arts college guides. They are very similar, you only need one.



4. My son asked me to buy this, he wants to be a music performance major. Helpful features in this book: the nuts & bolts of auditions, how to communicate with the college, knowing your teacher before you decide on a college, questions to ask on a college visit, 12 pages of universities/colleges that offer every imaginable music major/concentration, and facts concerning 500 music schools (number of full & part-time faculty, programs of study). My big problem with this book: out of 500 conservatories/colleges/universities listed for music, two excellent universities were left out: Yale University in Connecticut and The Eastman School of Music (University of Rochester) in New York. Both of these are listed as having excellent music programs in the Fiske Guide (which only lists 12 conservatories, 17 universities and 17 colleges in the nation). It appears that the author, the former Julliard admissions director (New York), did not want to list their competition?



5. My daughter wanted this book to help with her search for a school in the performing arts. It was very helpful in that it gave examples and useful information for this particular field of study. This book is good for anyone seeking information in the arts related majors, such as drama, dance, music.

5 comments about A Jesuit Off-Broadway.

1. Often people are not all that curious as to what makes a heroic character heroic. Perhaps it's because the bold actions of a heroic person can speak for themselves. Take Rosa Parks as an example. It doesn't matter why Rosa Parks refused to give up her seat on a bus, an action that spearheaded the Civil Rights Movement. Her action is enough. However, when it comes to traitors, we're more than curious. Why did Brutus betray Julius Caesar, his close friend? Some historians claim Benedict Arnold could have been a great leader in a new nation? Why did he turn sides? Of all traitors/betrayers/turncoats in history, the one who causes the most speculation is Judas Iscariot, the infamous (?) apostle who sold Jesus for thirty pieces of silver.
   
   Judas' actions have caused questions, questions that are centuries old, as the recent discovery of the Gospel of Judas demonstrates. We wonder, why did Judas do what he did? Was he jealous of Jesus? Disappointed? Was he trying to cause Jesus to act? Stephen Adley Guirgis pondered the question of Judas and the result was the play THE LAST DAYS OF JUDAS ISCARIOT. The play is set in a courtroom and Judas is put on trial, giving him the opportunity to either explain his actions or perhaps seek forgiveness. Guirgis wanted accuracy so he sought out a "theological advisor." Jesuit priest James Martin seemed well suited for the task and the book tells the story of his first becoming involved in the project to his follow through when the curtain falls for the last time.
   
   Martin weaves a number of different threads together as he shares his experiences as an advisor for the play. Readers see how a play develops from an idea to a finished product, growing and changing numerous times along the way. We also get a glimpse at how a theater company works, in this case the LAByrinth Theater Company in New York City, and the varied personalities that populate the group. We see the frustrations of the company as the play develops ever so slowly, as well as the way it finally takes shape. Martin also introduces readers to current biblical scholarship regarding the New Testament as well as concerns regarding contemporary biblical interpretation.
   
   The book's greatest strength is not the information about scripture, nor is it in how a play comes to life, as compelling as both can be. Throughout the book we see relationships develop between Martin and the writers and cast. We learn of their struggles with faith for some and the strong faith of others. We see Martin go from being an advisor, almost an outsider looking in, to an integral member of the production and in a real way we see communal bonds develop. Martin is changed from the encounter, and no doubt the others involved were too.
   
   While A JESUIT OFF-BROADWAY tells a number of different stories, James Martin's ministry as a priest is what holds the book together, and for me it's a compelling read. Priests serve God in a myriad of ways, and while it may be a bit cliché, a priest never knows how God will be found in any given situation. James Martin's task was to answer questions so a play on a religious matter would be theologically accurate. Far more happens in this book, and as the book progresses, the advising becomes less and less but relationships develop and God's hand can be seen at work and God's presence can be found. This is the ministry of a priest, regardless of the setting. It is what happened during the production of THE LAST DAYS OF JUDAS ISCARIOT and it is what happens in parishes, schools, hospitals, prisons, and just about anywhere else priestly ministry takes place.



2. Because of Fr. Martin's presence with the cast, each member grew tremendously in their faith. I recommend this to all Clergy. Father William T. Burke, S.J.



3. Jesuit priest James Martin presents A Jesuit Off-Broadway: Center Stage With Jesus, Judas, and Life's Big Questions, a memoir recounting the six months during which he served as a theological consultant for the New York theater production of "The Last Days of Judas Iscariot", directed by Oscar-winning actor Philip Seymour Hoffman and starring Sam Rockwell and Eric Bogosian. Even as Martin taught his charges about religion and spirituality, he learned about the amazing labor of love that is the theater, as well as the toll it takes upon a cast and crew to pour their blood, sweat and tears into a successful play. A wondrous journey into two worlds: the world of the stage and the inner world of the humanity's soul-searching questions.



4. 
   While strikingly different from his previous work, both in subject and method, this book about his experience working with the cast and crew of an off-broadway show called the "Last Days of Judas Iscariot," is phenomenal. It has been a while since I last read one of Jim Martin's books - the last major one was "Becoming Who You Are," which was sort of an expansion of some of his thoughts in "My Life With the Saints" - I immediately fell into the rhythm of his writing style. He writes in a very approachable and down-to-earth way that is neither insulting nor overly complicated. It is an intelligent mix of narrative based on his personal experience of growth with this acting troupe and theological insights that arose during the process and afterward by way of theological reflection.
   
   Like every other book written by Martin, I highly recommend this one!! Even before I read it, I purchased 3 copies of it for gifts for people, knowing that a book by James Martin will not disappoint. Enjoy this book!



5. I had a rather odd experience a couple months ago. I went to a book reading for this book, A Jesuit Off-Broadway, by James Martin, SJ. What was odd about it was that the author, the usual reader at these events, was only one of the readers. Guirgis, and many of the original cast (other than the "big" names, Phillip Seymour Hoffman and Sam Rockwell) of Guirgis' play, The Last Days of Judas Iscariot, joined Martin in reading excerpts from the book at the Public Theater--in the same space where the play was performed and my wife and I had watched it with interest a couple years back. It was a wonderful and surreal evening.
   
   What made it surreal, at least for me, was listening to the others besides Martin read their "parts." Martin writes extensively about Guirgis and the cast in this book, their religious backgrounds, experiences and motivations. He quotes them all rather extensively though I can't believe he was taking copious notes at the time (though I could be wrong about this). As these actors read about themselves I couldn't help but notice that what I was watching was a person playing another person's interpretation of themselves. Most brought it off brilliantly but some (Guirgis, in particular) seemed to squirm with discomfort at reading his motivations aloud as interpreted by Martin. It made me more aware than usual, as I read the book, of how an author shapes experiences--as "real" as they are--to his own ends by his choices and presentation. The other cast and crew may have perceived these same events quite differently.
   
   I know I, for one, perceived some of the things he writes about quite differently. As an attendee at one of the "talk back" nights, I agree with Martin that some of the questions can be thoughtless and rude. On the other hand, I found the cast and crew to be unforthcoming and rude to those of us with an interest enough in the work to support it. I myself only listen at these nights, looking for a deeper insight into what I've seen; however, I'm constantly disappointed in how little appreciation the cast and crew gives to their audience. As a sometime actor myself who does talk backs on occasion, I understand the weariness that can overwhelm at the end of a performance, but I always try to charge myself up for talk backs and remain even-handed with rude questions because I respect those who support me and my work.
   
   I also understand Martin's sensitivity to the criticism leveled in some of the reviews of the play. It does demonstrate how enmeshed he got with the development of this show. On the other hand, though I liked the play immensely, I did not think it was without its weaknesses--the length and the appropriateness of some of the monologues, for example. In my mind, an unwillingness to explore justified criticism shows a weakness in judgement. (He was also reluctant to take Guirgis to task for his slowness in writing a play to which he had committed. I was much more sympathetic to the actors waiting for pages.)
   
   Still, Martin deserves kudos for many of the great things he does in the book. He gives great amounts of historical background that inform the story of Judas and how they played out in this show. He explores how developing a play, particularly one like this, can be a spiritual journey and he uses this theme to great advantage. He gives insight into how a new play is created and brought to the stage, in some respects better than I've seen in writing by theater "professionals." Plus, he does so in a situation where he can talk in a bit of depth about some of the greats of stage and screen--Guirgis, Hoffman, Rockwell, Bogosian, etc.
   
   Finally, I have to express my pleasure in his relating some of the background of the Jesuits and their involvement in theater. I am the product of a Jesuit education and I have great respect for these men who have always seemed to me the powerhouse of intellectual Catholicism. Having Martin's insights is something I value very much.
   
   Ultimately, I guess I have to turn the critical lens back on myself. Though I was only peripherally involved in the events Martin discusses, I am perhaps too close to the events. My judgement may be somewhat swayed by the brief encounters I had with the play, its cast, its author and its "theological advisor." Still, that cannot get me to value my observations and opinions any less than Martin's. Much like the play Martin discusses, this is not a book without flaws; however, also like the play, this is a book that should be experienced.

3 comments about Macbeth (Arkangel Shakespeare).

1. This CD is excellent--the witches are super creepy sounding, and the unabridged text is well performed. Definitely helpful for teaching Macbeth.



2. This series is wonderful if you are a teacher. It really helps students to hear how Shakespeare's words are supposed to flow when spoken by classically trained actors. Students snicker a bit at first when they hear the Scottish accents, but they get used to them quickly and the quality of the recording is excellent. The cheesy music in between acts is irritating, but you learn to ignore it. A fun bit of trivia is that the porter scene is acted by David Tennant who most people know as the current Dr. Who! It's also a treat to be able to listen to Macbeth in my car. Shakespeare makes rush-hour almost tolerable.



3. I've been playing this in a regular senior English class. Many of the students are finally understanding the play. The actors in this cd do a wonderful job interpreting their lines. The Scottish accents are well done. Sound effects make it vivid. It's the best production I've found to date.

5 comments about Harpo Speaks!.

1. When speaking of the Algonquin Round Table of which he was a member for years - he claims his only contribution was to be a listener among all the great talkers. He lies. His storytelling, practical jokes and childlike sense of fun were an essential ingredient of that famed circle.
   
   No other book, not even Groucho's own autobio, conveys the early 20th century world of Vaudeville in all its raunchy splendor as this book does. There was never so amazing a place as New York of that era. Its a fun read throughout.
   
   Surprisingly, at the heart of the book is the unlikely pairing of best friends Alexander Wolcott and Harpo Marx. Wolcott, sexually neutered by a glandular condition or mumps as his story went, obese, ridiculous and brilliant, saw in Harpo the image of freedom he could never know. Harpo, a second grade drop-out who at fourteen was playing piano in a whorehouse, was perhaps the only human being who really understood his friend.



2. this was a very entertaining book. I never knew how intelligent Harpo was despite quitting schoool in the second grade. He met a great many well-educated people in his life and had a way of being accepted into their inner circles. He was able to describe these relationships in a way which brought these people once again to life.



3. The title is just as clever as the man himself. Harpo, the silent clown of the Marx Brothers movies, finally gets to tell his own story after years of witnessing the antics of some of the most famous people of his time. Adolph "Harpo" Marx grew up in the poor Jewish slums of New York, quit school in 2nd grade, and proceeded to become one of the most famous and lovable faces of the movies. He led a colorful life influenced by his four famous brothers and the people he associated himself with. His childhood is perhaps the most interesting segment, filled with hilarious anecdotes that spring to life thanks to excellent storytelling. A chunk of Harpo's adult years were spent with Alexander Wollcott, an interesting and lovingly portrayed writer with a penchant for the odd. The years spent with him during the 1920s were wild, but Harpo managed to extend the fun through the rest of his life.
   
   Very little of this book is spent scrutinizing the films the Marx Brothers made. In fact, only a few are even mentioned at all. Harpo took more pride in the people he knew and his other accomplishments. His movies were a small part of his existence.
   
   Coming away from this book, one feels incredibly close with the author. Harpo manages to vividly portray his life and in doing so, paint an intimate portrait of himself as well. He was a lovable man with a great attitude toward life. This book is a treasure, and a great memory of a great man.



4. What a great look into an interesting life of the silent one. I read it twice!!



5. This book should be standard issue to every human being who wants to know what a well-lived life consists of! What an extraordinary person graces us with the story of his life and a look at the lives of his famous family members! Told with such engaging warmth, Harpo's story continually challanges us to wake up and realize that, like the author, it isn't so much whether you're sleeping in a palace or a harp case...eating caviar or turnip soup...that determines what your life is worth and how fulfilled you are. Nearly indescribable in its charm, this is a books to be read again and again.