4 comments about Towards a Poor Theatre (Theatre Arts (Routledge Paperback)).

1. For any theatre professional, student or enthusiast. Highly recommend watching "My Dinner With Andre" as well. It's a film by Wallace Shawn.



2. Comprehending this book is no small feat. Sure, you start with the premise that competing with the technical spectacle of movies and TV is a fruitless pursuit. That's not difficult. Neither is the idea of embracing poverty in theatre and making the human being the only center of performance. That's dead easy. Spare costumes, little or no makeup, no sound effects, as few light effects as possible. Who can argue with that?

   But this doesn't mean everybody can embrace Grotowski's vision of Poor Theatre. His is one that involves stripping away all preconceived notions of theatre from the early Modern period on. This will never fly in commercial theatre, dependent as it is on technology, nor will it satisfy many recent playwrights, who depend on technical do-funnies to make their shows work.

   Grotowski also takes a funny view of plays, playwrights, and theoreticians who don't agree with him. Among other things, he considers playwrights as hired talent and plays as essentially malleable. He also suggests that the only way the writings of Artaud are useful in theatre is if they are taken elementally rather than globally - a position sure not to sit well with many avant-garde directors.

   Because this book isn't a straight-ahead statement of principles, ideas, and practices, it yields its secrets only with difficulty. Parts of it aren't even written by Grotowski, but are interviews by other authors, or even observations that don't include quotes from the man himself. It was basically compiled to provide an overview of the ideas and products of the Polish Laboratory Theatre up to that time, and it encourages experiment and development by the reader.

   This isn't to say that it isn't actually useful. There are exercises for actors; there are statements of theory for directors; there are even sketches, diagrams, and photos for designers. However, expect to wrestle with this book if you're going to unlock its secrets. Once you elect to start down this path, you have a long row to hoe




3. "Towards A Poor Theatre" by Jerzy Grotowski is probably the most important book written on acting since Stainslavsky's three famous character books. There is so little known about Grotowski and many people have tried to fake his work and people need to read the man's original words. Grotowski's vision of theatre has had the greatest effect on me more than any other person in theatre. He saw acting as a Holy experience where both the actor and spectator were transformed after the performance. Grotowski expanded from where Stainslavsky left off and drew his ideas everywhere from modern art to religious rituals to primitive theatre. Any one interested in theatre must read this book somehow and be changed forever like I have.



4. There is no better book that I have read on the theory and practice of theatre. As Peter Brook says in the preface, "Grotowski is unique. Why? Because no-one else in the world, to my knowledge, no-one since Stanislavsky, has investigated the nature of acting, its phenomenon, its meaning, the nature and science of its mental-physical-emotional processes as deeply and completely as Grotowski."

   Grotowski argues effectively that the split of the stage and the screen necessitates that the stage redefine its focus. The screen with its higher budget and countless retakes will always beat the stage in richness. So, Grotowski posits "If it [the stage] cannot be richer than the cinema, then let it be poor." The rest of the book illustrates what such a poor theatre means in practice. Brilliant.

5 comments about The Makeup Artist Handbook: Techniques for Film, Television, Photography, and Theatre.

1. I just finished the whole book! It blew me away because I found out tons of info that I can't wait to use on my next job. It is very thorough and gives you ALL the industry standards, techniques, tips, applications, everything you need to know to do your job and take it up to a more professional level. I could not get enough of it because reading it is like spending time with a top MUA.
   
   I just got my BFA in sculpture and do makeup and prosthetics. I spent a lot of years and money learning the basics in college. I can't emphasize how important those basics are, like shapes, colors, and anatomy. It's a big part of my makeup and designs. I'm just surprised how well it's covered in this book and it's got all the info you need laid out in a way that's easy to take in. I've bought 4-5 books easy just to begin covering all these topics they covered, and even then it would still take more books, magazines, and all my web surfing to add up to this. I wish this book was out when I first started makeup. The authors DO encourage you to go out and build your resources and references, you know, like on the specific areas you like, but this is a strong first book for a beginner as well as something I'm recommending to all my friends who've already got a lot of books and experience. They have the makeup classics, but this one is probably going to be the most useful. I love my book so much, I had it spiral bound so I can open it a majillion times.
   
   It really does a great job of preparing you for the realities and responsibilities of being on set. Some of that info I had to find out on my own, step by step. It would have been great to have a book like this years ago! Great lessons in every chapter and great references and resources throughout the entire book, and in the back. There's a great basis for makeup: starting with art and explaining light, shadow, and how they work. Great tips on the proportions of the face as well as drawing lessons that culminate in a simple yet thorough lesson on more familiar studies of the face, eye, and lid shapes. Then it transitions to makeup and how to mix the art with makeup techniques. I realize I'm writing more than I usually do, but let me add that all the sections on makeups, hair, and especially the "How to Be a Pro" section are really informative and eye-opening.
   
   Overall, the book delivers everything it promises. It does a great job covering color, lighting, HD setups, controlling your image, skin color and skin care, basic/beauty/effects makeups, hair, blood, tattoos, character design, breakdowns. It's all here, plus all the resources.
   
   Now that I'm done, I wish I could find another book this great!



2. As a professional makeup artist working in film and theater for the last 20 years, I am always looking for good makeup books that teach new techniques and working with new products. This is not that book. As the title suggests, this is only a handbook for those who already know how to apply makeup. It touches on many topics, but does not do much teaching at all. It could be used as a reference to remind a makeup artist what steps are involved in an application technique, but there is very little in depth description of how or why to do each step.
   
   While it does talk about HD, airbrush makeup, Tinsley Transfers, and silicone prosthetics, there is very little useful information for anyone who has not already used these products. Much of the information from these chapters can even be found online (in more detail) through a simple web search (including two articles reprinted directly from the free webzine airbrushtalk.com).
   
   As a reference book, this book deserves 3 stars for compiling a lot of useful information into one place.
   
   As an instruction book, I would give this book 0-1 Stars. If you are looking to learn the techniques of the makeup artist, you best choice is still Richard Corson's Stage Makeup (9th Edition)



3. This book belongs in every makeup artists' library. Detailed instructions, insights from respected professionals in the field. It's also very good for the beginning makeup artist offering the basic professional product tips and reference materials.



4. I originally bought the book b/c i was excited about the fact that the authors were including a section on HD makeup. However, that section turned out to be fairly small & did not contain as much information as i would of hoped for. I was alxo a little confused by the color theory section as it did not match up with my own knowldege of this subject. All in all i think it is a good book & would be helpful to anyone with aspirations of becoming a makeup artist.



5. This is, by far, the best book ever written on what one should know to be a professional makeup artist. Very detailed. Excellent coverage of the technical stuff, especially if you are interested in HDTV. Loved loved loved it!

5 comments about Impro for Storytellers (Theatre Arts (Routledge Paperback)).

1. This book is fantastic if you want to persue Impro. The first one - "Impro" everyone in the world should read whereas this one is far more of a handbook for those of us who want to persue it onsatge. But still brilliant, just a different beast. If you ever get a chance to hear this man talk - go!



2. If you're going to read only one book about improvisation, read this. If you read two books, wait a month or two and read this again. I've been part of a professional improv performance group for the last five years and every time I read this book it fills me with new levels of information and wisdom.
   
   Many people never discover this book because they read Johnstone's first book, Impro, and find it difficult to apply as well as not very relevant once it delves into the eccentric world of mask work. Impro for Storytellers is highly relevant, contains many games, exercises, and suggestions to try, and is a highly entertaining read. I recommend reading this first and reading Impro later if you enjoy it. I certainly enjoyed it over and over again.



3. I've used Keith's Impro for several years, and this book is just what I've been looking for! It gives the kind of details I've been for to use in my classes and performances.



4. This is quite a large book, pretty much entirely made up of a wide variety of games for actors with vivid examples of what students come up with under pressure, and thorough explanations of the goal of each excercise. It's extremely well written and just as good as something to sit down and read, as something to get up and play with.
   
   The games range from easy to very hard; many would make excellent fun warm-ups to introduce non-actors to basic acting theory and to interacting with an audience. What makes this book unusual for an acting text is the emphasis on story, and the highly audience-centric approach to performance.
   
   I would seriously recommend this book to writers, screenwriters, and story artists. The ultimate goal for Johnstone is to teach his improvisers to hook the audience and keep them hooked by altering tactics, reversing, raising the stakes, setting up expectations. Throughout, his unexpected cry of "Be obvious! Don't be creative!" keeps the story being invented on an engaging emotional level.
   
   I bought this because I'm teaching a class involving some acting, but found so many exciting ideas for plotting I want to send a copy to everyone I know in story. First rate.



5. I thought that Keith Johnstone's first book "Impro" was the best book on Improv -- until I read this. Impro For Storytellers is chock full of imaginative games that will make any improv workshop (or communications training) sparkle with creative fun and learning by taking the pressure off of being creative.

   If you want the best collection of improv games since Spolins "Improvisation for the Theatre", this is it. Johnstone paces the book with wonderful stories of how the games have been used under all sorts of circumstances, with a brilliant and dry sense of wit. If you are interested in improv, please read this book!

2 comments about Acting in Commercials: A Guide to Auditioning and Performing on Camera.

1. Joan See, a classically trained actor (Sanford Meisner, Wynn Handman), explodes numerous myths about acting in commercials, such as:

   o Commercial acting is easy

   o Commercial acting requires no craft or skill

   o Commercial acting is selling

   On the contrary, says See: the actor's job is not to sell. Actors "must bring little stories to life in a way that makes other people believe them. If you believe that your job is selling, you will feel that something other than acting is required. But don't forget what the advertisers hired you for - your acting skills. They want your ability to communicate ideas and feelings in such a way that their audience believes you." In other words, actors in commercials need to remain grounded in their foundation skills of acting.

   The challenge for actors with a background in theater, says See, is that they don't understand the differing requirements of acting in front of a camera, and the challenge for all actors unfamiliar with the commercial genre is the need to turn in masterful performances in mere seconds in the somewhat bewildering formats and styles found in commercials. This book provides detailed help on both fronts.

   The author begins by reviewing acting fundamentals that apply to the naturalistic stories actors are most often asked to bring to life in commercials, including the basic skills of relaxation, concentration, listening and responding, and physicalization. She then discusses the mechanics of acting before a camera, both in the audition and on the set, and lays out strategies for overcoming the most common traps in those settings.

   Finally, in the meat of the book, See identifies the three most common forms that Madison Avenue tends to use in commercials -- slice-of-life, spokesperson, and MOS -- and the three most common styles in which those forms are expressed -- film-style, sitcom-style, and "Honeymooners" -- and lays out extensive strategies for practicing, auditioning, and performing in these forms and styles.

   This is valuable information indeed: "Analyzing commercial scripts by pinpointing their form and style gives an actor the first chance to control the material. With this information, you suddenly have guidelines for your performance. You have something to work with. The directors and casting directors in the commercial advertising field know what results they want. They are not always skilled at helping actors obtain that result. Actors must be able to function as their own director and bring their performance into the audition with them."

   This book provides an excellent set of tools for navigating these challenging but lucrative waters. It is full of practical information, example scripts, and helpful guidance, almost all of which is firmly rooted in classic acting. Practicing and using the techniques in this book, an actor should no longer be like a deer in the headlights at an audition or on the set. Highly recommended.




2. I have had the pleasure of reading several books for actors aspiring to make commercials a part of their livelihood. This is an easily understood exposition of the many facets of commercial work and the transition from stage acting to camera. Many superb examples of eye-opening scenarios give the book life and energy. Anyone aspiring to make commercials should give this book thorough study. Ms. See offers several other sources for self study in the pages toward the end and examples of commercial copy and the mind set to make a performance count.

3 comments about Freeing Shakespeare's Voice: The Actor's Guide to Talking the Text.

1. In one of the most eloquent handbooks
   I've ever had the pleasure to peruse,
   Kristin Linklater guides you through a rich
   and expertly constructed path designed
   to help you give your voice to Shakespeare's text.
   For her, the body and the voice are one:
   an instrument that needs each part to work.
   To speak the speech, you start with how it sounds -
   the open vowels and clear consonants
   each bring a unique bodily sensation.
   Then you progress to what it actually means -
   the content, the "emotional", the life -
   and later bring this to poetic form.
   
   Ms.L insists you also understand
   Th' Elizabethans and their take on life -
   her explanations always held me rapt.
   Her methods are direct; each chapter builds
   upon the one that came before. However,
   this shouldn't mean the structure is rigid:
   there's lots of room for your experiments.
   
   This book is one of my best purchases.



2. This book has some good ideas but it is somewhat too cumbersome in it's technical language. It took several read overs to really understand what Kristin was trying invoke. This book is not a good source for new actors but may be more appropriate for those in upper college theater/drama class or master classes.



3. The master teacher Kristin Linklater has written a user-friendly, brilliant book on her approach to Shakespeare's language. Anyone interested in reading or performing Shakespeare shouldn't be without it.

5 comments about Urinetown: The Musical.

1. Absolutely fantastic is really all I can say about this. Each line is more clever than the next and the music is absolutely genius. Each song is unique and each lyric has value. The show has a great message and is hilarious. I've read the script and listened to the music at least 50 times and I still laugh out loud every time. I can't even pick my favorite song or scene or say anything bad about it.



2. I used this book in our amateur production of the musical and I recommend this script. The pictures and story behind the musical was interesting.



3. I always thought "Forum" was the best musical written but that is now in second place to Urinetown. This one also has a lot to think about as a commentary on our times. Shouldn't be missed.



4. Truckee Meadows Community College (TMCC) in Reno is performing this play in March 2006. I should add that it is one of the first community theaters to get the rights to producing this still-running show. Having the book in this format has been very helpful while blocking the show instead of lugging around the bulkier copies provided to us; however, as the Music Director pointed out, the lyrics written in the book don't exactly match what is in the score. But if you are an aficionado of Broadway Musicals, this is a fun book to have!



5. UrineTown was, i believe, the most unique musical ever been created! The Concept of this play was just fall-to-the-floor funny and has gone beyond what we see in broadway throughout the years. but what this show has is great characters and some witty dialogue and lyrics. It's unique concept gave the script strength and power and was a fame for all viewers who went out and saw it.
   
   I encourage anyone who has heard little of Urinetown to go out and give it a shot. Maybe it could be a well-known musical some day.

1 comments about Renzo Piano Museums.

1. I love Piano's work, it's elegant and functional. This book is fantastic, it is well researched and the images are very well presented. Though Piano designs all kinds of buildings for all sorts of functions, he is most famous for his museums. I am most familiar with his amazing buildings for the Menil Collection and his Nasher Collection, the are both quenticential Renzo Piano. The two builds at first glance, look little alike, but if you tour them, the are actually quite similar, Piano uses his amazing understanding of light to make the buildings come alive. This book includes these buildings of course, but also other musuems he created, all so different on the surface, but still so Piano. I saw him lecture at the Menil last summer and he was amazing, very funny and charismatic, he had the whole outdoor pavilion in the palm of his hand. He of course talked about his obsession with how light is going to play in his buildings and he discussed Mrs. Menil, and you realized why his clients love him so much. I dont usually call somebody a genius, but when it comes to architecture, Piano is indeed a genius, he is without question one of the most inventive and most admired architect of his era. As for this book, if you love Piano or just appreciate beautiful architecture, I cant imagine you not loving this book.

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.

1 comments about Fundamentals of Organizational Communication (6th Edition).

1. They said they would ship in 1-2 days. I got it 3 weeks later. Disappointed.

5 comments about Diet for Dancers: A Complete Guide to Nutrition and Weight Control.

1. Written during the Balanchine era, this book works in a way that can actually encourage an eating disorder or create more motivation for someone who already has one. This comes from someone with an eating disorder. While this book does have interesting information and even a couple pages to identity eating disorders, it's important to keep in mind the time this book was written during a different era in ballet and that the biological information is out of date. I verified that with a medical professional.
   
   The average heights, weights, etc., were also taken from quite a while ago, as far as ballet goes. Different ideals are in place now that then. To strive to be the ideal dancer in this book would be to strive to being too thin by modern ballet standards, which is still pretty damned thin.
   
   An updated edition written in a different way would be a better alternative. Otherwise, this book should only be put into the hands of healthy adults without tendency toward eating disorders.



2. Gives some good info and I felt it really helped me understand about dieting and the dancers body. Full of great information.



3. This book helped be understand WHAT kind of exercise I needed to do in order to lose body FAT. I'm not in the "overweight" category, so books that tell you to "just take a walk" or "take the stairs instead of the elevator" aren't the most useful (I already do those things).
   
   I'm not a dancer but I would recommend this book to anyone who would like to go down ONE size, and doesn't need to go down 3 or 4.



4. It is a little confuse for young adults, specially if they are not familiar with measurement :-(



5. Awesome book for any type of Dancer!