3 comments about The New Comedy Writing Step by Step: Words of Instruction, Encouragement and Inspiration from the Legends of the Comedy Profession.

1. If you want to learn comedy writing from a pro, buy this book! It can be helpful for screenwriters, writers, and stand-up comedians. Another good book is "The Comic Toolbox" by John Vorhaus. But it's mainly for writers and screenwriters.



2. Product was everything and more....if you are just starting out this book wil give you a very good jumping off point....



3. Gene Perrett's THE NEW COMEDY WRITING STEP BY STEP has been revised and expanded and includes inspiration and real-world experiences from the comedy profession. From a wealth of comedy-writing exercises to reinforce efforts to keeping a comedy notebook and getting ready to write, beginners new to the field have many tips on how to get started.

5 comments about Rent: Movie Vocal Selections (Piano/Vocal).

1. I'm so happy with this purchase. It has all the songs from Rent in it and it's fantastic to be able to play these on my piano.



2. I really love the music from RENT. I use this product regularly. The only thing I did not like was that not all of the songs from the movie are in the book, but most of them are. I think there were only two missing. Enjoy!



3. Almost bought the broadway vocal book that I saw at Borders...there were not a great amount of selections. I congratulated myself when I came home...looked on Amazon...found the movie soundtrack vocal book and there were way many more selections...and it was a better price than the first one?? so any rent fan would be very happy with this bood. THe one drawback is the "Love heals" song which wasn't part ofthe original...Just don't love that song and Goodbye Love is not there but practically everything else is....you'll be very happy with this book.



4. I don't know what to say. I was ecstatic to find my purchase of this product in the mail today, and I was very eager to sit down at the piano and play. I'm a little disappointed that this songbook is much like most songbooks out there. It doesn't stand out a whole lot. The melody is written in the accompaniment, but when I select music, I prefer accompaniment that sounds original, not a duplicate of what's being sung. It seems distracting.
   
   I am however pleased that everything was kept in their original key signature as far as I can tell, even if that makes it harder for some to play. The graphics are a nice addition, and I am very satisfied with the number of songs included in this songbook.
   
   So, on that note, I still absolutely love RENT, and I am sure I will continue to. Maybe my expectations were too high? I'm not sure, but maybe it would be a good idea if a version of this songbook were released with the original accompaniment.



5. This is a quality piano book that transcribes the orchestration to piano notation without "dumbing down" the composers musical intent. The music, as is typical with piano/vocal books, carries the melody along with the accompanyment and the bass line seems to play true to the CD/movie. If you enjoy the music from Rent and are an average to above average piano player, you will be able to sit down and play through the songs in short order.

2 comments about Henry IV, Part I (Folger Shakespeare Library).

1. Not only was the book in perfect condition I received it in 2 days -- no I didn't upgrade the delivery method! Fabulous!



2. The events of ths play follow "Richard II." Bolingbroke/Henry with the help of Nothumberland and others defeated Richard II and got crowned King Henry IV. But in this play, King Henry IV learns that political gratitude is short lived. As early as 1.3 King Henry IV has a falling out with his former allies Northumberland, Worcester, and Hotspur. In fact, King Henry IV's behavior almost borders on psychotic. In a great scene of Shakespeare reversal, Northumberland and Worcester regret having helped Henry IV to the crown, and they even express sympathy to the former King Richard II. (Such is politics.) Well, Richard II's consolation prize begins to kick in, and revolts against Henry IV are underway. Meanwhile, Henry IV's son, (the eventual Henry V) is still a youth. And he spends much time with his friends who engage in some criminal activity. And it is here where we meet the famous Falstaff. Falstaff is a rogue who engages in not so desirable behavior such as robbing travelers and drinking too much. At one point he even accepts bribes from people to avoid serving in the king's forces, (not to mention keeping the would have been soldiers' salaries for himself). But despite all this, it is virtually impossible not to like him. He is comical in every sense of the word. And at times, his concern over Prince Henry does seem genuine. (In 2.4 he is somewhat worried that Prince Henry will be in danger from his father's enemies for obvious reasons.) Moving back to the main plot, King Henry IV rebukes the prince for engaging in his meaningless activities while there is a rebellion rising. It is interesting that King Henry IV brings up how he defeated Richard II and compares Prince Henry to Richard II. (In history, this may have not been the smartest move. Henry V never really approved of how his father got the crown. This is prevalent in 4.1 of "Henry V.") Nevertheless, Prince Henry agrees to shape up so to speak. Later, Falstaff has the comical scene where he enters with subpar forces. (Cheap labor so to speak.) When Prince Henry is not so pleased, Falstaff boldly answers: "...man, mortal men, mortal men" (4.2.68). The battle comes and Shakespeare cleverly inserts a scene where Henry IV is wounded, but Prince Henry rescues him and: 'redeems his lost opinion.' Things start to look good for Henry IV, but Northumberland is still at large. And the grounds for "2 Henry IV" are in motion.

5 comments about Communication: Making Connections (7th Edition) (MyCommunicationLab Series).

1. Received the book in a timely manner and it was just as advertised. Would not hesitate to buy from this seller again.
   Thanks!



2. This is a great introductory book to communications. It scratches the surface of the subject but still educates the reader in practically every area of communication such as: Preparing and outline for a speech, Manage Speech Anxiety, Informative Speaking, Persuasive Speaking and much more. I recommend this text for any student wishing to introduce themselves to the wonderful field of communications.



3. This is the most long-winded book I have ever read and is thus a good example of how not to communicate. Big words are used to obfuscate simple ideas and puff up the subject into a bloated, self-important, unnecessary load of drivel. Look out - it gets worse: If your Speech Communication teacher likes this book it probably means you have to pretend to be left-wing to get a good grade.



4. I bought this book (5th edition) from a seller who was offering it brand new for 19 dollars. And I was 100% satisfied with this purchase. The book arrived promptly and it was brand new (wrapped in plastic). This is an excellent textbook for Oral Communication classes.



5. I recieved this book that clearly states in the title 6th edition, but in the information says 4th edition. I did not notice the 4th edition. The seller was great about refunding my money for the book plus shipping due to the misommunication, I am still waiting on a refund for the return shipment so we'll give that a little time to recieve.

5 comments about The Plays of Anton Chekhov.

1. It neither surprises nor pleases me to learn that this is the current actor's standard for Chekhov translations in America. I bought this as a text for an acting class, and I kept it because Chekhov was a great writer and no translator can change that. However, the plays collected in this volume aren't treated as literature. If they were, we wouldn't get twelve of them; the one-act comic sketches were, as Schmidt well knows, only written to make money. They certainly weren't intended as filler for the longer, more important and famous plays, which can be found in virtually every other Chekhov collection. Yet Schmidt gives them the same attention, and I myself sometimes find it hard to tell the difference. There are one or two of the less famous plays that I admire, but there are also plays by Chekhov that this volume leaves out.
   If I were looking for an English version of Chekhov now, it would probably be an older volume, or perhaps a genuinely modern adaptation that made no claims to be an accurate rendering of the original Russian. I'm not categorically opposed to watching a performance of any one of these translations (I derived a rare enjoyment from performing them myself), but the Americanizing of the dialogue has chafed actors and directors alike, and I hardly think it was worth the effort.
   To judge by the cover of this book, one would think its contents profoundly ugly.



2. This book arrived promptly in new condition. It is the best translation of Chekhov's plays I have ever read. Our play-reading group enjoyed reading it together.



3. Renowned Director and Chekhov afficionado David Cromer swears by this translation of Chekhov's greatest (and lesser-known as well) works. I agree, its truly the most accessible translation for the American mouth I've ever read/performed. Perfect for monologue auditions, or productions of your own. ACTORS, STUDENTS AND SCHOLARS ALIKE SHOULD ALL OWN THIS TRANSLATION!



4. Although the author does a very good job putting the text of the plays into the modern English vernacular, I feel as though the works have had their flavor removed. If you are a purist, like I am, stick to the "old" translation.



5. I haven't read Chekhov's plays in Russian so I can't say anything about the translation except that it is very readable.

   Chekhov had his own unique style in that his plays were usually mere verbal interaction with most significant action taking place offstage. Even though most of his plays, especially his four act plays, take place at rich, country houses far removed from any sort of normal life, he seems to pick out timeless themes of humanness in several characters and weave them together into an almost plotless commentary. The fact that his plays have endured as long as they have are a testament to his genius and his skill at seeing timeless ideas.

   Chekhov's long plays are always revered and remembered as classics but this collection gives the reader a chance to see what an unbelievable short play writer he was. They have their own special feel apart from his longer works and give short little insights to the comedy and often comedic tragedy of human nature and human absurdity.

   The Cherry Orchard, the Seagull, and Uncle Vanya are classic four acts by Chekhov but don't overlook Ivanov. It was one of his earlier ones and one of my favorites. Chekhov does a good job of making several unique characters and having them react around the central situation and an older man and a younger woman give you an interesting view at an interesting love story.

   For short plays I would recommend "The Bear", "The Proposal", and "A Reluctant Tragic Hero". Especially in the Proposal Chekhov's comedy is especially portrayed.

   This collection, in general, an all-around good read. Well worth reading this collection of one of the best playwrights.

3 comments about On the Technique of Acting.

1. This book is a must for all actors film or stage. It helps one to evaluate your method of acting and helps one to learn using easy step by step methods of each exercise.



2. It would be interesting to read this book alongside Mamet's "True and False." Chekov's passion for creation and exploration through the imagination, set against Mamet's scorn of invention on the part of the actor. Mamet dismisses the idea that character exists and that an actor can "become" the character. Chekov meditated in order to try and commune with the spirit of the character.

   Two very different approaches.

   In spite of the practical application of Chekov's ideas, there is a childlike hunger here for the imaginitive and mysterious that I feel is critical for any artist. We can appreciate that Chekov defied Stanislavski in search of something of his own, and here is perhaps the most interesting point: Chekov's method was deeply personal. He created his own approaches, and took bold risks in doing so. I most enjoyed the descriptions that his book has of how Chekov would create his own characters.

   That any artist could throw themselves into their work with such interest and abandon is thrilling.




3. Again my mantra about acting books remains . . .

   Reading an acting book must be taken inside the context of personal experience of either production or an acting class.

   I value Checkov for the simple reason that, although he often comes across as nebulous and abstract, he stresses the fantastic and imaginative elements of acting.

   Escewing working from the emotional inside out Checkov, a veteran of the Moscow Art Theatre, stresses finding the character through imaginative excercises that first engage the external elements of the actor's instrument namely in the creation of fantasy atmospheres and communion with the audience.

   Building upon Jung's theories of the Universal Archetype, I find Checkov's bit about the psychological gesture and "living statues" most helpful in teaching, acting and directing.

   In a professional world where gut wrenching, self absorbed displays of therepy induced emotion passes for true acting, I find Checkov's teachings most helpful in inspiring the true reasons many find themselves drawn to the stage: the wonder and excitement of telling an imaginative story.

4 comments about At Play: Teaching Teenagers Theater.

1. Since buying At Play: Teaching Teenagers Theater, I find I am using it a good deal in my lesson planning. From this book, I get ideas for adapting Viola Spolin-type drama games in ways that appeal to older students. Like Spolin, Elizabeth Swados introduces drama skills incrementally, isolating non-verbal games from verbal ones at first, so that students gain skills and confidence gradually and are not overwhelmed by their creative tasks. Although Swados's game instructions may be a little sparse for beginning drama teachers, she provides excellent examples, and employs a very common-sense methodology for introducing students to drama. The book is an excellent extension to other sources which provide detailed instructions for popular drama and improvisation games.



2. I looked at a lot of reviews before purchasing this book, and along with this book I also bought Gavin Levy's 112 Acting Games. I liked this book the best of the two (though both have strengths). I liked this book for two reasons. First I liked the clear explanations that came with the activities, including a little about the "aim" of the activity. Secondly, and more importantly, I liked the activities themselves. They seemed more mature than the activities in 112 Acting Games, and since I work with university ESL students, this was better for me. In the end, I think many of these activities have a nice depth and meaning to them that was clear to me. I would highly recommend this book for teachers working with junior/senior high school students or university esl students. Very nice book.



3. I help run a small theater group at my kid's middle school. I don't have any acting background, but wanted the kids to be able to do a play and get more direction than "talk lounder!". This book has a lot of exercises and games to do with the kids to get them thinking about timing, expression and movement and voice. Be warned to read before doing this with the kids, since it also explores much larger, more serious topics(prejudice, sex, drugs). However, there is PLENTY of stuff that kids can do at a younger age.



4. 
   
   Beginning with her personal experiences and attraction to the world of the theater, Swados bridges the gap of her own life with the common experiences of a group of youngsters as they create their own musical theater piece about the dangerous world they inhabit and the small redemptions of daily life as they accomplish their goals. Specifically structured, the exercises begin with personal experiences and expand to include the group as a whole, each phase furthering the creative community: direction, voice, movement, characters, improvisation, discussion, time, space, music and choreography, the conclusion, their own show.
   
   This very accessible handbook is directed toward a specific audience, young people from twelve to the early twenties, ages mixed for maximum benefit from the experience. From middle and high school, young people can perform these exercises before their peers at public and private schools and local community centers, all directed toward channeling creative energy in a positive manner, the resulting performance a theatrical experience for the students involved. All of the categories outlined lend to the expansion of students' awareness, but a teacher/reader can improvise as necessary to accommodate his group for a performance outside of school, inside school, as a training ground for young actors in a dramatic school or community environment, even as exercises for a limited class time.
   
   In the context of the theater, mentoring focuses on the sense of family created by mutual experience, a spirit of togetherness that may yield lifelong friendships and artistic collaborations. This hands-on guide to theatrical performance is practical and effective; if followed, it will enrich the lives of students who participate in the process. Practical and specific, At Play is a valuable teaching tool; even more, it is the diagram for success in a field that enhances students' life experiences and collaborative endeavors with their peers, the result empowering. Luan Gaines/2006.
   

5 comments about Top Girls: Methuen Student Edition (Open University Set Book).

1. So deep and dense with facts, theory and symbolism that I thought she broke my brain! I have never been more pleased with a play. This was a masterpiece.



2. Marlene (Amy Brenneman) has just been made Managing Director of the 'Top Girls Employment Agency' in Maggie Thatcher's anything-goes England of the high-flying 1980s. But in pursuing her professional success, Maggie doesn't really have any friends - but she is in possession of a personal past she'd just as soon forget. At a party where famous women from history collects, Maggie discovers that life above the 'glass ceiling' of the business world isn't really all that satisfying. Supported by an outstanding cast that includes Megan Austin Oberle, Kirsten Potter, Samantha Robson, Kate Steele, Concetta Tomei, and Missy Yager, this Caryl Churchill play, "Top Girls", is professionally directed by John Rubinstein and presents the listener with a truly impressive 'theatre of the mind' experience - the kind that is special to the resonating imagination and epitomizes the best of what live theatre has to offer an appreciative audience. Flawless produced and recorded, "Top Girls" is a strongly recommended addition to personal, academic, and community library audiobook and Theatrical Studies collections.



3. Caryl Churchill, Top Girls (Methuen, 1982)
   
   I almost stopped reading this play altogether at the conclusion of the first scene. I ended up glad I continued on, but really, there would have been so many better ways to handle that first scene. Putting it somewhere else in the play, for example.
   
   Top Girls concerns Marlene, a woman just promoted to the head of her branch office of the Top Girls temp agency. She was promoted over a man, and in celebration, she imagines for herself a lavish dinner party, the guests for which are a number of notable historic women. This is understandable, and having other players in the play playing guests whose personalities are mirrored in their other roles is clever. But, really, the scene takes up an entire quarter of the play's length, and the information you get in the scene that's actually relevant to the plot is summed up in the first sentence of this paragraph. (You don't find out about the second sentence until later.) There's a lot more going on in the play's remaining four scenes, much of which is quite important, but it's shuffled off for this massive dinner party.
   
   Once we get back into the real world, though, things get quite a bit more interesting. Marlene's niece Angie wants to run away from home and come live with Marlene, whom she sees as a great success, while Angie's mother, Joyce, is content to stay in the country eking out an existence and griping about everything possible. Angie's odd friend Kit is always hovering about in the background, being ominous. At Top Girls, life goes on, with the employees gossiping and interviewing potential workers.
   
   The play's final four scenes are very good stuff, with all sorts of insight into their characters and action that flows through the talkiness. And in retrospect, again, the dinner party scene works within this framework, but it would probably have worked better elsewhere in the play (at the end of act one? Between the acts?). Suffer through it, though, and the play will reward you for it. ***



4. I read Top Girls in my dramatic literature class in college. Reading the play can be very helpful if you plan to attend a performance. Characters are constantly interrupting each other mid-sentence and an audience can miss much of the dialouge. The concept for the play is wonderful. It examines women's lives throughout history- from Joan of Arc to women in a temp agency- all sitting down to dinner. The dialogue is exceptional and the each woman's story can fill a play in itself. However, this is definately a play you will want to see acted on stage. It's also a fun play to read/ act out loud with girlfriends because it raises many issues which concern contemporary women.



5. I read Top Girls in my dramatic literature class in college. Reading the play can be very helpful if you plan to attend a performance. Characters are constantly interrupting each other mid-sentence and an audience can miss much of the dialouge. The concept for the play is wonderful. It examines women's lives throughout history- from Joan of Arc to women in a temp agency- all sitting down to dinner. The dialogue is exceptional and the each woman's story can fill a play in itself. However, this is definately a play you will want to see acted on stage. It's also a fun play to read/ act out loud with girlfriends because it raises many issues which concern contemporary women.

3 comments about Theater: The Lively Art.

1. Theater: The Lively Art
   This book I need for my Literary Studies. It gives sufficient information on theater through the past 20 ages, from the Greek till today's Theater. All the photographs make it a book you'll always keep in your library.



2. As textbooks go this is a light overview of Western Theatre Tradition. It includes a CD ROM with very little additional information. The book fails to go in depth into the historical influences that helped shape world and the theatrical tradition. It does however include landmark events in the theatre world of western europe and how it evolved into what we know today.



3. The book was in great condition and arrived within a reasonable amount of time.

2 comments about The Songwriter's Workshop: Harmony.

1. This book, along with its companion by the same author, Songwriter's Workshop: Melody, comprise a solid, straightforward course in writing songs along the lines of what I'd (reluctantly) call "classic rock and pop" of the 60's through the 80's. The harmonic vocabulary covered in this volume is comparable to what most guitar-oriented songwriters
   used then and continue to: open position chords with descending bass lines, major triads with thirds and fifths in the bass, etc. It may be a sign of the times at Berklee or, more
   likely, just the author's orientation but you won't find jazz/show tune techniques here nor Steely Dan changes so if that's more your cup of joe, I'd recommend Jack Perricone's "Melody in Songwriting" which makes a great followup to this series.
   
   But otherwise, there's little prior knowledge assumed (other than an interest in and listening experience to a wide range of songs) and much to be learned.
   
   Kachulis's approach is to build up song structures by having you focus on individual elements: groove, chord color, modal chord progressions over small sections building to contrasts
   over larger forms. Always refering to an example song or to the accompanying recording the approach is logical, and it should work for those requiring different levels of handholding and validation. You can imitate the examples closely or just
   glean from the principles, going your own way.
   
   And let's face it: Many of the points about song structure are just as applicable whether your composing German Lieder, folk ballads, cabaret torch songs or a neo-prog synth-drenched epic.



2. I was suffering from a severe case of writer's block before picking up "The Songwriter's Workshop: Harmony". I have picked up new techniques from modifing harmonies to learning popular chord progressions. The play-along CD has been instrumental in my development as a writer. I highly recommend this book if you are suffering from writer's block and want to learn great techniques to creating hit songs.