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!

1 comments about How to be a Working Actor, 5th Edition: The Insider's Guide to Finding Jobs in Theater, Film, & Television (How to Be a Working Actor: The Insider's Guide to Finding Jobs).

1. Getting started in many careers is undeniably the hard part. "How to Be a Working Actor: The Insider's Guide to Finding Jobs in Theater, Film, and Television" is a comprehensive and through guide to help actors get started on the right foot and not be waiting tables for the rest of their lives. With essential advice on how to put together a professional wardrobe, creating a solid resume, communicating the right way with ones agent, working on and improving ones weaknesses in the craft, and so much more. "How to Be a Working Actor: The Insider's Guide to Finding Jobs in Theater, Film, and Television" is a must have for any aspiring actor and for community library collections on Theater and Cinema.

5 comments about Les Miserables: Vocal Selections.

1. i had the chance to see les miserables and right after the show i bought this book. for me the songs were almost too easy. the only one i'm having trouble with now is "Master of the House".



2. I love this musical and last year for my solo day I sang Castle on a Cloud(in the seventh grade) it was so beautiful, I love the music and the words, I lived that song for weeks and really loved it. This book made it even better.



3. If you love Les Miz and want to sing or play the music, buy this. If you love musical theatre, buy this book! It has all the great songs from the show.



4. Overall, I am glad I bought this book. The main thing I was disappointed about was that the lyrics to the songs are not included.



5. Being a huge fan of the Les Miserables musical, I borrowed this book at the library hoping to be able to play some of my favorite songs on the piano. I was not disapointed!
   
   Since I play piano by playing the guitar chords giving for each song, I was so happy to find that the book contained all the chords that I needed to play the songs.
   
   From the start I was able to play all the songs pretty well (with the exception of 'Stars', but that's because I barely know the tune to begin with, lol), and with practice I was able to play many of them VERY well.
   
   Its a fantastic book. I have had so much fun singing the songs and accompaning myself on the piano!

5 comments about Capoeira Conditioning: How to Build Strength, Agility, and Cardiovascular Fitness Using Capoeira Movements.

1. i just started capoeira. this book certainly has some real info and the workouts will show their effect in no time. very encouraging and easy to follow.



2. esto es un libro para acondicionarse para la práctica del capoeira, encontraras movimientos básicos, algo de historia, es un libro para principiantes y para personas que esten interesadas en este excelente deporte.



3. The title says it all. A very good book for anyone who is into physical conditioning using only body weight exercises!



4. A very good book to learn the basics of capoira movements. It is great for general fitness for anyone of any age and fitness levels.
   Something different to the usual jogging, weights, cycling, etc.



5. Capoeira conditioning in a basic stretching and capoeira exercise book.
   If you don't have experience in martial arts or any time of organized exercise classes, this book may be appropriate for you. As more of a beginners' book I would recommend this book. However, if you are more advanced you want to look further into your search.

5 comments about Inside Inside.

1. I, like most readers I assume, ventured to this book under the auspice that it could possibly reveal some kernels from behind-the-scenes of a show so devotely watched and scrutinized. I, also, have joined the legions that have enjoyed mocking, mimicking and wondering what possibly could have spawned such a fawning, erudite boob. Yet, while Lipton has over the years been the easiest of targets (i.e. Will Farrell, Ali G, etc.) there has always been an aspect that you cannot dismiss about him altogether.
   Not only has he survived such ridicule with aplomb, but he has embraced it. (i.e. having Ferrell on show, appearances on Conan O'Brian)
   
   What emerges in the book is a life enmeshed with literary and artistic giants but also a portrait of grace, intelligence and generosity. Lipton is uncommonly frank and is only discreet when the embarrassment is for someone other than him.
   Most likely unknown are his previous best-selling books, Broadway musicals and collaborations with Arthus Miller, Baryshnikov, Stella Adler and other world movers that he can count as friends and heroes.
   
   While I, too, was seeking more on the likes of Johnny Depp, Dustin Hoffman and Martin Scorcese, what I found was something more interesting. My own assumtions eroded and a new appreciation of the man, the arts and all the people that come and go through his long journey to the show. It's quite impressive.
   
   That being said, be WARNED. Lipton is an erudite, a son of a writer, who published a book on words themselves ('The Exhaltation of Larks'). Don't go two steps from this reading without a dictionary in hand. Think I'm kidding? Then ask yourself- Are you a sesquipedalian?
   
   Not a tell-all, nor a peep backstage, but a deep and winding discovery of a treasure hidden in plain sight.



2. I heard James Lipton interviewed by Elvis Mitchell on KCRW's The Treatment (broadcast March 19, 2008). Lipton was promoting Inside Inside. The interview made me want to buy the book. When I visited Amazon to make the hardcover purchase the reader reviews were rather unkind and I thought, unfair. The theme of the complaints seemed to be that the book centered too much on Lipton and not enough on the show Inside The Actors Studio or on the stars who'd graced the show. Well after hearing that interview with Lipton on The Treatment, I came away understanding that Lipton's book was about himself and the different people and events that had influenced him. People who purchased the book thinking it was about something else perhaps did not bother to listen to Lipton before purchasing the book. James Lipton is a good story teller and at age 80 he has some good stories to tell. His classical education shows itself in his facility with language and in the themes around which he groups his essays. There are those who state that Inside Inside is too centered on Lipton as if that is a detriment instead of an asset. Lipton has had a rich life and he has met quite a few interesting characters outside of the well-knowns he's interviewed on the show. The manner in which he introduces you to these characters and allows you to get to know them through his memories is quite engaging. Still, this book may not be engaging for everyone. Before purchasing Inside Inside, or any book for that matter, I would suggest sampling one chapter of the book. If you would like an audio sample of Chapter 6 of Inside Inside you may search Y-o-u T-u-b-e for the ISBN-13 number for Inside Inside. The number is 978-052595035.



3. I bought this book for my sister as a Christmas gift. Not only did I get the expected reaction (she cried her eyes out), she will not stop talking about it. Now that she has read the book twice, I am next in line to read it.
   
   This book is a must for a fan of Inside the Actor's Studio. But if you gift it to such a person be preapared to hear about it for the next six months.



4. My mom is a big fan of this show and wanted the book for Christmas. I took a peek through it and it seemed to be very interesting, also comes with pics from the show with various diferent stars.



5. Others have given this book from good to forgiving reviews without reading this book. Just from browsing the appearance of it, this looks like a good book. Don't let those reviewers fooled you. We cannot rely on James Liptons reputation or his show Inside Actors Studio to judge this book!!!!! Pay attention only to the reviews from reviewers who have read the 585 pages of this book.
   
   Inside Actors Studio was arguably one of the better talk shows, and based on that I was looking forward to this book by James Lipton. This book reminded me that there are books out there about autobiography of ordinary life which made great reads, on the other hand there are extraordinary life out there that can be turned into less than ordinary reads, this books fits the latter perfectly.
   
   Mr. Lipton carried himself as an educator and a celebrity host with several honorary degrees under his belt. He talked about his humble upbringing to his successes in education which eventually led to his national media recognition. I looked at the pictures, they were accompanied by well versed and I was impressed with it, thought that some good exciting reading materials could emerge and I was wrong. Goes back to the saying - never judge its book by its cover (or pictures/language) - in this case, Inside The Actor Studio becomes his smoke screen.
   
   It was truly all about himself. Every five pages he will mention his wife, either how they met, date or meeting celebrities. Of course she is a very important person, however I found her less than interesting when there is a 100 pages mentioned about her. The book got into its highpoint when Mr. Lipton made a list of all celebrities favourite curse words and phrases, with repetition of our favourite four letter word printed in repetition, he also reviewed interesting questions about what kind of tattoos and where they are on entertainment personalities.
   
   So much for a book from an educator. This book taught me a good lesson about spending time on a more worthwhile reading material as well as going beyond perception or smokescreen in the book selection process.

5 comments about Becket.

1. This book is not very good. The plot is undeveloped and there are many scenes in the play that have no meaning at all. I adivise against buying this book, it is a poor use of your money.



2. I love this play! It's one of my favourites and a wonderful complement to Eliot's "Murder in the Cathedral". The movie with Richard Burton as Becket is also outstanding. I always carry it along with me when I go in a journey along with Eliot's "Four Quartets". It shows the humane side of Becket, it is a great study on the human soul. I cannot reccomend it too much. This is the stuff heroes are made of....



3. A terrific read. I agree with most of the reviews here. The story is about two giants of their time, who turn on each other through folly and necessity. That mythological study alone makes this good. Add onto it the scope of a king and an archbishop, a man looking for advise and power and another looking for a purpose in life. Anouilh's stage directions also add an excellent imagery to the story, stark and minimal that evokes an emphasis on the relationships between Henry and Becket. This is a great companion to The Lion in Winter and A Man for All Seasons. From an actor's point of view both leads are attractive, one being furious and physical and the other an internal ball of conflict and spiritual discovery.



4. This is one of my favorite plays. While Anouilh made Becket a Saxon (historians say he was in fact, a Norman), and that a decade's time is compressed to make a two plus hour play or movie, the fact is that "Becket" is a fast moving, epic saga which dramatizes one of the most heartbreaking episodes in English history.

   Ignore the negative reviews here. I highly suggest you go see the play if you're lucky enough, or rent the movie with two superb performances from Peter O'Toole and Richard Burton.

   One last note. While plays tend to suffer when just being read and not performed, "Becket" is a glad exception. It's superbly written and it goes by briskly.




5. There was something about this book that I just didn't like. Even though its a true story, it seemed a little exaggerated, especially in regard to the king.

5 comments about The Merchant of Venice (Dover Thrift Editions).

1. As Harold Bloom says, this has become an unplayable play after the Holocaust. This is only an additional reason why one should read it. The play is fantastic and gives us one of Shakespeare's most memorable characters: Shylock. Whether you see him as villain or victim, Shylock is unforgettable. As is his speech defending the Jewish.



2. The New Folger Library of Shakespeare's Tragedies and Comedies are among the best pocket editions available for the student and the journeyman lover of the Bard.
   
   Before the actual text of the play which is wisely presented on the right hand page with explanatory notes (metaphors, allusions, similes, etc.) facing on the left hand page (words and phrases are defined by scholars based on their usage during Shakespeare's time; if scholars are inconclusive as to meaning, the word `uncertain' is used to connote this disagreement), the usual `Reading Shakespeare's Language', `Shakespeare's Life', `Shakespeare's Theatre', `Publication of Shakespeare's Plays' and `Introduction to the Text' introduce the reader to the Shakespearean world. Following the text, an essay by Alexander Leggatt follows illuminating `The Merchant of Venice' for the modern reader. In addition, an eleven page `Further Reading' list pinpoints books and essays on topics like the play itself, Shakespeare, the time in which he lived and the Globe Theatre. Rounding out the vital information is a three page "Key to Famous Lines and Phrases" complete with speaker and verse notation.
   
   As far as the play itself, I will keep my remarks limited, saying only that for the modern audience, Shakespeare's "The Merchant of Venice" borders on the provocative. All with politically correct upbringing or today's cultural sensitivity training cannot help but focus on the reigning prejudice of the early Medieval and Renaissance time period, namely the exclusion of Jews from all forms of normal life since mainstream thought withheld that this race was primarily responsible for Christ's crucifixion.
   
   Indeed, today's reader will pose the question as to whether or not this play should be deemed more tragedy than comedy and must remember that as a comedy, "The Merchant of Venice" focuses on marriage, couples (Bassanio/Portia, Lorenzo/Jessica, Gratiano/Nerissa) and their emotional and financial interrelationships and uses sly humor and innuendo to poke fun at Venice's societal `outsiders'(Shylock, Morocco, Aragorn and in a lesser sense Antonio) who do not form a Shakespearean couple per se. Looked at from this perspective, the character of Shylock becomes simply the play's foremost societal outcast, in spite of the famous speech where he asks seemingly so poignantly, "If you prick us, do we not bleed?"
   
   Bottom line: Shakespeare is Shakespeare. If your modern sensibilities are offended by Shakespeare's treatment of Shylock the Jew, the Prince of Morocco and the Prince of Aragorn and question the unhappy and solitary Antonio's intense feelings for Bassanio, simply keep in mind that the world at that time looked at such things differently. Within the definition of comedy, this play with its multitude of lovely speeches and images works well indeed. The New Folger Library edition simply makes the play more easily accessible and understood on the various levels of language and scholarship. I recommend this series wholeheartedly.
   
   Diana F. Von Behren
   "reneofc"



3. THE MERCHANT OF VENICE can be described as a tragedy only if one follows the modern definition of "tragedy" and not the Greek. The genre of tragedy in which Shakespeare wrote required that all of the players, or at least all of the main players, die at the end, à la ROMEO AND JULIET, JULIUS CAESAR, MACBETH, and HAMLET. In fact, MERCHANT OF VENICE can only be described as a tragedy if Shylock is seen as the main character and not Antonio. (Note, in the list of players at the beginning of the play, only Antonio is called a "merchant of Venice".) In sum, THE MERCHANT OF VENICE can only be described as a tragedy if it is completely removed from its historical context.
   
   Shakespeare intended that the actions taken by Antonio, by Shylock, by Bassanio, and even by Portia be seen as comically extreme. Antonio goes to the lengths of seeking help from a man he despises to help a man he loves. Shylock demands nothing but justice, even when the demands of the agreement he made is met and even doubled. Everywhere in this play is there action taken to the extreme.
   
   Only a refusal to acknowledge the historical context would be blind to the comedy. There are stage plays, television shows, and screenplays aplenty which follow the example set forth in MERCHANT OF VENICE, showing how comical people can be when their actions are taken to the extreme. If MERCHANT OF VENICE can be view in THIS context, then the comedy shines through.
   
   As a writer, I find it comical that anyone would use MERCHANT OF VENICE to point the finger of "racism" at Shakespeare. Part of a writer's challenge is to present convincingly views even he or she disagrees with. The best writer would try to dismantle and disprove the very beliefs he or she holds dear. That Shakespeare has often been judged a racist based on his portrayal of Shylock serves only as testimony to the continuing success of this play. Shylock's speech, complimented by another reviewer, is ample proof that Shakespeare's own views are well hid. Shylock's speech demonstrates magnificently that Shakespeare was able to get inside the head of any man (or woman) in his stories and write the words which that man would speak, faithfully render the thoughts which that man would think, have that man act as only that man would act, and all of it be believable. Simply put, unless you knew beforehand a writer's views on any subject, it would be difficult to find the needle of truth in his or her haystack of fiction if that writer has done their job well, and in this case Shakespeare was damned near flawless!
   
   It is true that the movie, starring Al Pacino, does not present this play as a comedy, but that hardly detracts from its excellence. It shows, in fact, that MERCHANT OF VENICE plays well as both a drama and a comedy. In our age, however, given the importance of religious tolerance, I'll admit that it is probably best played as a drama.
   
   As for the Pelican series of Shakespeare's plays, they are an excellent resource for anyone wanting to read and study the Bard's work. I've several volumes in this series and hope to eventually own them all. Each volume contains two identical essays, "The Theatrical World" (which provides a good understanding of the historical context, as well as an idea of just how much we know about Shakespeare as an individual) and "The Texts of Shakespeare" (which gives more historical context and also discusses some of the difficulties which editors have experienced in presenting these plays in print to modern audiences). There is then an introduction to each play, which is best left unread until afterwards if you aren't familiar with the play. The footnotes are few, but well-chosen, and do help in understanding words and phrases whose meanings have changed over the centuries.



4. Anti-festive character who is Shylock on this play sacrificed unjustly. Shylock is a character who is legally invoking his rights as a money-lender among the community which experiencing transition from agriculture society to capitalistic society. Moroever, the character Portia's defending Bassanio as an disguised attorney is unreasonable in some ways and speech is crude, indeed.
   In my opinion, to reach the axiomatically righteous conclusion, we should reverse pur point of view toward the 'Justice'. It is a transformation of way of our thinking. Therefore, I recommend rhis masterpiece for someone who aspire to ponder about our human being's viewpoint.



5. Shylock is the only sympathetic character in the play. Modernity has altered the villain in "The Merchant of Venice" from Shylock to the entire cast of characters EXCEPT for Shylock. Any sense of comedy in the play died for those with a sense of religious tolerance, and Shylock comes off as merely oppressed. I found Act 5 almost nauseating after the forced conversion. That, coupled with the happy racism makes a perversion of decency and happy endings. This play is a tragedy. The recent movie version done starring Al Pacino turned it into a tragedy, and amazingly, a play written as a comedy seems to work very well as a tragedy.
   
   Antonio gladly spits upon Shylock and calls him a dog, but stunningly, when Antonio finds himself in a financial pinch he goes to Shylock for money. More brash is Antonio's promise to act the same in the future: "I am as like to call thee so again, / To spet on thee again, to spurn thee, too." (1.3.127-28) From this point on, sympathy for Antonio is paralyzed in a modern reader's mind, from reminders of past images, from slavery and anti-Semitism, where the dehumanizing of a group of people is accepted by a society. The entire text afterward reads like an indictment of humanity, as if Shakespeare is making the Elizabethans laugh at their own behavior.
   
   In perhaps the best argument in Shylock's defense in the trial, he point out the fact that those who speak of mercy own slaves. "What judgment shall I dread, doing no wrong? / You have among you many a purchased slave." (4.1.89-90) Shylock, as fanatical as he is over the pound of flesh, is asking for only a pound of a man, when the slaveholders own the entire person. The play is littered with prejudiced remarks that clearly show how animalistic Shylock was to them.
   
   Every conversation involving Shylock has ridicule from the Christians, without remorse or a feeling of comedy. The Christian children are taught to mock Shylock, they run after him in the street. The merchants spit on him, the Duke reviles him, his daughter renounces her religion and robs him.
   
   Still an amazing story, with a few of the best on mercy and prejudice ever written.

5 comments about Three Plays: Desire Under The Elms, Strange Interlude, Mourning Becomes Electra.

1. Its the only play i read in the book. It was an interesting read. The dialect is sometimes hard to understand, only a few words though.
   The play is fast moving and interesting. The scandalous Eben-???(dont want to ruin it for you) relationship is unexpected and dramatic. Perhaps too dramatic, in a rome and juliet complex.



2. Oneill, death death death, this is rereleased in vintage 1958,
   mourning becomes electra , strange interlude, required reading
   for all playwrights of our era.



3. Each of the three plays in this volume are beautiful in their own way, with a poignant message that you'll be the better for hearing. O'Neill's genius is breathtaking and sometimes I wonder how he does it. Out of all his plays, there's not a stinker in the bunch.



4. i need a thesis for a paper on strange interlud



5. One of these three great plays by Eugene O'Neill is Strange Interlude which was written in 1923 and won the Pulitzer Prize in 1928 when it originally ran on Broadway. Its running time is over four hours and it is usually performed with a dinner break. It is a family chronicle, of sorts, following the life of Nina Leeds and her family in a small university town in New England - from her early days as a young woman mourning the loss of her ideal lover during WWI, through her middle age years. It is the story of a family's secret and their determination to keep this secret unknown by others, and sometimes even to themselves. The play's most unusual quality, though, is found in the words that each character speaks. Not only do they converse with each other using naturalistic dialogue, but they also voice their subtext, which is unheard by the other characters in the play, but is heard by the audience. This device brings to the surface the secret life that each character in the play carries with them but is not willing to reveal to others. It creates, in the audience, as if it were another character in the play, a "sharer" of these stage characters' secrets. Through it all we view the lives of these characters with a fondness, and we root for them. Perhaps we root for them because we know, very much, why they are doing the things they do to each other.

   The two other plays are well worth the experience of reading and/or seeing on stage. Mourning Becomes Electra, based on the Greek Electra myth, is especially wonderful. Its set in post civil war america and like Strange Interlude its length makes it a rare theatre treat to see performed on stage.

2 comments about Natural Speaker, The (6th Edition) (MySpeechKit Series).

1. I've read a lot of communication textbooks over the years since I'm a professor in the field. This is one of the best. Professor Fujishin exudes the passion he talks about in the final two chapters of this book. He is passionate about the topic, the audience (in this case his readers), and he has a healthy self-esteem. All three are necessary for connecting with an audience in a meaningful way, he explains.
   
   The author stresses ethics throughout the whole book. It is filled with inspiring quotes. His points are illustrated by anecdotes and personal insights from himself and people he's known.
   
   I get the impression that he is truly a nice guy.
   That comes across in his writing. It's like I know him after reading his book. He touched me to that extend.
   
   Now, having said all those positive things, I do have a couple of ideas for improvement. First his citations are weak. In the text he identifies such well known poeple as Abraham
   Maslow and Alan Monroe, but in most places he talks about "a study." Curious readers want to know "which study." How about a bibliography at the end of each chapter? Another odd thing I found was the fact that he seems to be a Christian who is afraid to mention the Name of Jesus. Why do I get that impression? He cites names of leaders of all kinds of other religions. He even quotes the Bible and talks several times about preachers and church, but there's never a mention of the Name. Just an interesting observation I picked up on.
   
   Overall this is a great book. It emphasizes the importance of relationships. Communication is about being "other centered" and the author is a master at following the advice he's advocating.



2. This book is my most favorite "textbook" since I returned to school to get my AA. This book is not like the traditional textbook-it doesn't put you to sleep after the first 3 pages. Each chapter starts off with a short story that applies to the concepts taught in the chapter. Very amusing stories. After the concept is introduced, the information is broken down into subtopics that are reasonably short. I think this helps the flow of the book. Models are included in the text so if your instructor wants an outline, for example, you have one in the text to refer to. The reading of this book is smooth and easy. I sold my original copy back to my school's bookstore and now I am regretting it. For someone who is working on an AA in speech communication, I'm looking to buy this book again to help me prepare future speeches.

2 comments about Scenic Art for the Theatre, Second Edition: History, Tools, and Techniques.

1. Scenic Art for the Theatre is a book you should own if:
   
   1) You are interested in the history of scenic art.
   2) You are a designer who needs to understand painting better.
   3) Are interested in a career painting scenery, especially drops.
   4) Most of all if you are a designer who needs to "paint their own stuff."
   
   Scenic Art for the Theatre is by far the best painting book on the market. Susan Crabtree is a fabulous painter with years of experience, and also a GREAT teacher. I was very fortunate to take a class of hers at Cobalt studios, and even after designing and painting scenery for 25 years, she definitely improved my knowledge base.
   
   Buy this book!
   
   John Holloway



2. I've decided to use this book as my primary text for a scenic painting course I'm teaching. The book is chock full of interviews with professionals, has a very nice section on the history of scenic painting, and really goes into depth in explaining why some things are done, why other things are not, and why sometimes you have to make it up. The authors go out of their way to make sure the reader understands the complicated relationship between the designer and the painter, and how the paint shop fits in to the larger context of producing a show. The examples and samples are all in color, and some of them are quite breathtaking. If you have a student thinking seriously about going into scenic design or scenic painting, you should make sure this book finds its way into their hands.