5 comments about Brando: Songs My Mother Taught Me.

1. This book is an opportunity to "hear" Brando, in his own words, on his life and loves, his relationships with his siblings and parents. It sweeps away some of the mystery that surrounded him because he was portrayed by the media as reclusive and difficult. And perhaps he was BUT the book shows gentle humor and deep and abiding friendships as well as strong opinions that sometimes left jaws dropping. However, not may people are willing to put their reputation on the line for something they believe in. Brando was more than willing to be controversial to make a point.



2. I am a die hard Marlon Brando fan. So I had to get this book. Oh, it is an incredible autobiography. Mr. Brando shares his life story with his fans. I enjoyed hearing his opinions on everything. And he shares his wonderful views on everything. But, out of respect for his children and ex-wives he doesn't mention them. I respect him even more for that. If you love Marlon Brando you should most definitely get his autobiography.



3. This is terrific book!
   
   What an interesting fellow Marlon Brando was!
   
   The only thing about this book that I wish was different is that it's one of those celebrity autobiographies that is written "with" someone.
   In this case, the cover of the book indicates the title and then below it: "With Robert Lindsey."
   
   It's not that Lindsey isn't a good writer; he's a very good writer. It's just that it would be great to read a book actually written by Brando himself, that is to say, without anyone assisting him. It's always hard to know how much the "with-author" contributes to an autobiography. Was Lindsey's contribution minimal or significant? Did he work from a written-out narrative Brando gave him; or perhaps only an outline? Or did Lindsey work with no words but rather tapes of conversation with Brando?
   
   Lest anyone think that Brando wasn't a good writer, the book quotes various letters Brando wrote during his life, many of them to one or both of his parents. In these letters, we see that Brando is, if not a professionally polished writer, certainly an extremely interesting, quick-witter, engaging writer. Enough so that he could have carried the writing of this book on his own.
   
   Another clue as to Brando's "way with words" can be seen in a 1991 book called "Conversations With Brando." This is a series of interviews Brando did with Playboy interviewer Lawrence Grobel back in the late 1970s, early 1980s. What we see, *in Brando's own words,* is, again, a very witty, vert insightful, very erudite communicator.
   
   Lindsey, however, as talented a writer as he is, can't reproduce Brando's communicative energy. It would be inappropriate if he even tried: such energy being unique to the person who possesses it.
   
   It would therefore behoove any reader seriously interested, or even casually interested, in this fascinating individual, Marlon Brando, to read "Songs My Mother Taught Me" in conjunction with the aforementioned "Conversations With Brando."
   
   What a life! What a talent! What a view of the world! I would have enjoyed writing to Brando, telling him how valuable his work has been to all of us.
   
   For an interesting and insightful obituary of Marlon Brando, see http://www.wsws.org/articles/2004/jul2004/bran-j03.shtml
   
   The obituary begins with these words: "Perhaps the greatest American actor of his generation ..." and ends as follows: "He will be remembered as a charismatic performer, an independent and uncompromising figure and a genuine rebel."
   
   Hopefully, our collective future will keep Marlon Brando's joy for living alive & well and as uncompromising as ever.



4. Marlon Brando was the greatest and most versatile actor ever to grace the stage or screen, but he was also a great human being whose heaviness of heart over the suffering of others in the world drove him to do what he could to alleviate that suffering and to shed light on inhumanity and social injustice.
   
   In reading "Brando: Songs My Mother Taught Me" by Marlon Brando (with Robert Lindsey), my emotions ran the gamut. I laughed. I cried. I longed for Marlon's presence among us once again. I felt some anger that this person - this wonderful man who gave us so much - this man who stood by the convictions of his heart to help others and who changed the lives of many for the better was scorned and criticized for his activities on behalf of those living in misery and despairing among us in the world. People called him "radical" and otherwise labeled him. And, he felt their contempt and was affected by it. How unfair it was. While so many people merely paid lip service to such causes, Marlon actually did something to bring about positive change and peoples' lives were changed positively as a direct result of this. So, if this was "radical," then I would wish to be so honorably labeled, myself.
   
   Marlon's seemed a painful and lonely childhood filled with abandonment, insecurity, and heartache. He was a prankster - a fact that reminds me of something I learned years ago when I was in nursing school about children whose needs are not met in life - that they are the "clowns" or pranksters in a group, laughing on the outside, but crying on the inside. Marlon said he had difficulty trusting women until very late in his life and that this was the reason he had multiple relationships simultaneously. If one woman left or rejected him, the pain would be more bearable, knowing there were still others. He would not have to feel so alone and abandoned and rejected as he had at times during his childhood like when his nanny left him and when his mother whom he loved so much was not emotionally available to him due to her dependence on alcohol.
   
   As for Marlon's relationship with the public, it is apparent that society held Marlon Brando to its own unattainable expectations. This is a shameful societal legacy. No person on earth remains who they were at twenty years old when they are fifty or seventy or eighty. People praised Marlon when he was meeting their personal expectations of him. But, then, when he did what was natural by growing older (and wiser, more seasoned, and more socially responsible) and some people felt he was no longer meeting their personal expectations, they became contemptuous or indifferent toward and about him. Marlon discussed this with Lawrence Grobel in Grobel's book, "Conversations With Brando." Marlon talked about how he was received when he had a new hit film out compared to when he did not. He said something to the effect that he could "see it in the eyes of the airline hostesses" and other people how, when he had a new hit film out, he received a "full thirty-two teeth" greeting and that when he did not have a new hit film out, they would talk to him like he was a has-been. This is so ridiculous to me. It seems the memories of some are as short as the last breath they took - either that or perhaps they have not actually reviewed the incomparable and timeless work of Marlon Brando. Moreover, he worked up until the end of his life and still played his roles to an exemplary standard.
   
   Having said that, there is definitely no shortage of love, respect, and admiration for Marlon Brando in the world of movies and among other artists, among his fans, and among those whose lives he helped bring improvement to over the years through his activism, his kindness, and his friendship. This is not to mention the love for him expressed by his children in interviews since his passing.
   
   There was no better actor that ever lived and no film better than those Marlon made - and there were so many: "On The Waterfront" and "The Godfather" both bringing Marlon Brando Academy Awards, "One-Eyed Jacks," a masterpiece in which Marlon acted and which he directed, "Mutiny On The Bounty," among the best films of all time, in my opinion; "Last Tango In Paris" in which Marlon allowed us into his private pain and thoughts and which contained a gutwrenching monologue by Marlon over the body of his character's dead wife; "Apocalypse Now," a film in which Marlon performs a beautiful recitation of T.S. Eliot's, "The Hollow Men," and in which he plays a role that is truly heart-stopping; "A Streetcar Named Desire," in the role of Stanley Kowalski which he acted in such a way that there would be no other that came after him that could come close to matching his performance; "Burn," a film whose subject became somewhat a reality on the set, causing Marlon to take a stand, "The Young Lions" a dramatic and moving film and one of my favorites, "Julius Caesar" in which Marlon proved himself a consummate Shakespearean actor; "The Men," "The Fugitive Kind," "The Wild One," "The Appaloosa," and, so many others.
   
   People seemed obsessed with Marlon's weight in his later years. I remember seeing him in "The Freshman" and thinking how good it would feel to be hugged by him then. I also remember thinking that he was such a handsome man with the same beautiful eyes, smile, and sense of humor. He was still Marlon - a sexy, beautiful, inspiring, sensitive man with a wonderfully expressive face and a brilliant mind - a beautiful soul - and among the most interesting people in the world, in my opinion. I would have loved to know him and to have spent time with him - listening to his ideas and theories about life and working with him on projects. I always thought his ideas and projects were inventive, creative, and often workable. One of the things that I was absolutely amazed to hear in a documentary about Marlon was someone talking about Marlon's idea to use the very cold sea water hundreds of feet below sea level and pumping it up to cool buildings above sea level. The person being interviewed said that this idea was actually put into use to air condition hotels in tropical places - and with an approximate energy savings of two-thirds. It amazes me every time I think about it.
   
   Regarding "Brando: Songs My Mother Taught Me," Marlon chose not to write about his children. I respect that. I think it would have been fine if he had written about his children, but I think that his love and his protective nature when it came to his children precluded his succumbing to any public pressure to subject his children to such scrutiny and exposure. It was obvious to anyone who knew anything about Marlon as a father that he stood by his children, anguished deeply over them, and made all of the sacrifices that a father whose children mean everything to him would make whenever his children were in crisis. In a documentary I once saw, Marlon's children spoke of him. Their love for their father was obvious and his love for them was obvious in their words as they spoke about the kind of father he was. Marlon, who had endured a difficult relationship with his own father obviously wanted to be a different kind of father to his own children - a gentler, more emotionally connected, and loving father - also a father with a great sense of humor and a playfulness about him.
   
   Marlon writes about his father, his mother, and his sisters in this book. And, this book's title is so fitting when one reads how, despite his mother's struggles with her alcoholism, she still gave him so much, including his love of nature and his love of music and theatre. Marlon loved his mother beyond her problems and he took care of her as best he could, even during his younger years when he should have been the one being taken care of. He loved deeply and he grieved deeply and this was evident when he lost his mother, a woman he said "taught me how to die." Marlon also speaks lovingly of his sisters who seemed to have somehow given him a little of the approval, acceptance, and reassurances about himself that he was not receiving elsewhere in his childhood. In particular, in this book, he includes an inscription on the back of a photograph of him written by one of his sisters that said, "Bud - and is he a grand boy! Sweet and funny, idealistic and oh, so young." As for Marlon's relationship with his father, it seemed Marlon spent much of his life seeking his father's approval because his father was always so disapproving and critical of him. I was so pleased to realize through Marlon's words that he had come to terms with regard to he and his father's relationship and that there seemed to be some healing, forgiveness, and understanding on Marlon's part, not only of his father, but also of himself, in the latter part of his life.
   
   Mere words are inadequate to express the way I feel about Marlon Brando. I love him. I miss him. My heart was broken when I learned of his passing and I still feel it now. If, but for the certainty I feel that Marlon is now in a place of complete peace and wholeness, I would wish for his presence back here among us again.
   
   As for "Brando: Songs My Mother Taught Me," I highly recommend this book. It is a book I literally could not put down once I started reading it. It is a very well written and poignant story of the life of a beautiful person who left his mark on the art of acting and on the world in so many ways.



5. Marlon Brando's memoir reads like a breezy conversation thanks to the assistant (if not outright ghostwriter) Robert Lindsay, who was able to compile this material after who knows how much dribble. Brando was undeniably one of the greats, a brilliant craftsman and innovator on the stage and screen. After his cult of personality had been established with `Streetcar,' `On the Waterfront,' and `The Wild One,' Brando drifted to smaller projects, which Hollywood was quick to dismiss. However, during this time Brando performed in Burn! by Pontecervo, which he cites as his greatest performance. I would argue `Last Tango in Paris,' wherein Bertolucci really let Brando's improvisational talent flourish. This memoir is undeniably fluff; he even admits he agreed to do it for the money alone, but it's entertaining fluff. You get to learn about his peculiar politics which include: a visceral support for Zionism, support for the civil rights movement, opposition to the war in Vietnam, and extreme activism to support Native Americans. Brando was a devoted and complex individual. He admits that he enjoyed having affairs, that he often took projects for money, that he was often depressed, lonely, and hot-tempered. What also emerges here is a portrait of an artist trying to gain independence in an inauthentic industry; perhaps he was one of the few who refused to let it ever beat him.

No comments about The Little Mermaid - A Broadway Musical.

5 comments about Sex and the City: Kiss and Tell.

1. I have been wanting this book for a long time and finally got it...yes!! Fun book for fans like me.



2. I have enjoyed the book a great deal. The only thing that surprised me was that the book was published about mid-way through the series, so it doesn't have any detail about the later episodes. Fun to look at anyway.



3. I don't know this show much, but my girlfriend is a huge fan so I got her a copy of this book. I wish more of my gifts would result in the kind of reaction this got from her. She keeps going back to it leafing through with great interest. If you're in search of a gift for a Sex and the City fan, I don't think you can go wrong with this one.



4. You should pick this up. I bought this item for my wife who is a big fan and she loves it especially the part where they have a map of the city and list all the spots they have filmed.



5. I bought this book as a gift for a friend who loves Sex and the City and I was very pleased with it myself. I have been watching the seasons, and although I have not seen the series in its entirety, I found this book to be really cool. It has behind the scenes looks and it explores the wardrobes of all the cast members. My friend who I bought it for really liked it and I would definitely recommend to anyone who loves Sex and the City.

5 comments about Christopher Marlowe: The Complete Plays.

1. I just had a brief comment. I don't consider myself an expert on Elizabethan era literature, but I've read a fair amount of Shakespeare and a number of the other authors of the period, and I have to say I was quite impressed with Marlowe. He certainly deserves to be better appreciated than he is. One of the lines from Edward II has stuck with me. I think I have it more or less correct, which was: "...and as for the multitude, they are like sparks--caught up in the embers of their poverty." You have to like an author who can write like that, but unfortunately he's been so overshadowed by the great Will that he doesn't get as much attention as he should. Anyway, by way of doing what I can, however, modest, to increase Marlowe's popularity, I'd like to say he's a damn good playwright, and that I have no qualms about throwing my own not inconsiderable bulk behind his reputation.



2. The Complete Plays includes all of Marlowe's plays (well, obviously.) As a bonus it includes the rather fragmentory Massacre at Paris (which many critics theorize is a corupt, unfinished, or damaged text) in a scene division only format and both editions of Doctor Faustus.

   Marlowe's plays, while not on the same level as Shakespeare's best, are far and away superior to any other Renaisance era dramatist (See also, Thomas Kyd, Ben Johnson, or Richard Wharfinger--if you can find him hehe.)

   The best thing about Marlowe's plays is the level of respect for the audience. Judgement of the characters is (for the most part) left to the reader. Tamburlaine can be viewed as hero and/or villian.

   And, it being Renaisance drama, there are some spectacular death scenes--Edward II's anal cruxifiction, Brabas's boiling alive, Faustus's dismemberment, and the Admiral's hanging/shooting to name a few.

   One complaint, and this is really more of a preference, but the textual notes are in endnote format, rather than footnote format, and they're not numbered notes--all of which makes finding latin translations a little more time consuming.
   But, for fans of the genre, this is the way to go.




3. The Complete Plays includes all of Marlowe's plays (well, obviously.) As a bonus it includes the rather fragmentory Massacre at Paris (which many critics theorize is a corupt, unfinished, or damaged text) in a scene division only format and both editions of Doctor Faustus.

   Marlowe's plays, while not on the same level as Shakespeare's best, are far and away superior to any other Renaisance era dramatist (See also, Thomas Kyd, Ben Johnson, or Richard Wharfinger--if you can find him hehe.)

   The best thing about Marlowe's plays is the level of respect for the audience. Judgement of the characters is (for the most part) left to the reader. Tamburlaine can be viewed as hero and/or villian.

   And, it being Renaisance drama, there are some spectacular death scenes--Edward II's anal cruxifiction, Brabas's boiling alive, Faustus's dismemberment, and the Admiral's hanging/shooting to name a few.

   One complaint, and this is really more of a preference, but the textual notes are in endnote format, rather than footnote format, and they're not numbered notes--all of which makes finding latin translations a little more time consuming.
   But, for fans of the genre, this is the way to go.




4. This is a generally good and easily available, inexpensive edition of Marlowe's plays. My only reservation about it is Steane's edition of Dr. Faustus. He makes the worst of both major texts, taking the general outline from the 1616 text but throwing in a lot of corrupt scraps from the 1604 edition for the clown scenes. I would advise anyone who wants to read Dr. Faustus to look elsewhere. I'm convinced that the 1604 version is on the whole a corrupt and truncated version of the play, but if you prefer it you might look into the Folger Library edition. If on the other hand you would rather read the play more or less as I think Marlowe wrote it, try the Signet edition edited by Sylvan Barnet.

   The other plays present no major textual problems (except for The Massacre at Paris, which is pretty hopeless) and this is a fine place to meet them.




5. This book is a treat. Very reasonably priced, and it's all there. The plays sweep you along (I always envision darkening Puccini-like chords in the background) images and crackling dialogue abounds. My problem is: 1) I have never seen the plays produced. This is *such* a handicap. I actually yawned through Shakepeare's "Tempest" until I saw a fine production. Now it is hands-down my favorite play and 2)I have to get in the swing of reading Elizabethan English for every reading. Therefore, I do not recommend reading in short snippets if you are also dialect challenged.

   Do keep in mind Marlowe (as Shakespeare) was trying to make a living, not write for the ages. He's trying to entice you to buy a ticket and be charmed. He succeeds admirably. There is something for everyone: action, derring do, comedy, and sharp insights.

   Marlowe is your mysterious, wild, sometimes trecherous friend; brilliant, but can you trust him? Probably not. If he was a vintage southern American, he might say "I didn't take you to raise." Would he lie to you? mislead you? Of course. But in everything I have read of Marlowe's I hear his voice; he is *there.* With Shakespeare, I do not have that certainty.

   Recommend reading "The Reckoning" by Charles Nicholl for an excellent biography on Marlowe. It reads like an excellent mystery, which he was.

5 comments about J.B.: A Play in Verse.

1. JB is a 20th century version of JOB, the most referred to book in the Bible. This modern masterpiece has all the drama and poignancy of its Old Testament counterpart and it has somewhat a better ending and answers to the question about why bad things happen to the good. JB's blinding trust in a God who rewards the good and punished the sinful remains despite all that happens to him or his family.
   The devil has more compassion for him than God and his wife even more. She first leaves him for his maniacal faith only to return with her answer to the answerable--love.
   The play raises the most troublesome question of faith and like the book Job has no answers except (1) the ways of God are mysterious (an answer unworthy of the question and those whose circumstances most need to know) and (2) your answer is the afterlife's rewarding heaven or fire-consuming hell.
   There is no answer as God is silent and exists in the regions of one's faith and choice that stems from the free choice God gave us as a consequence of sin. Could He just have decided at the Garden to kick us out with a "good riddance?"
   If you want to explore this question from a different viewpoint, read the ever wise Rabbi Kushner's When Bad Things Happen to Good People.



2. J.B. is a modern day (1950s) retelling of the biblical story of Job. To summarize: Job, God's most loyal servant, is punished by God without reason. God only wishes to prove that no matter what obstacles God threw at him, Job would still "praise God." While the story of Job makes a deep point about human suffering and the strength of faith, J.B. delves deeper.
   
   The play centers on a dialogue between two characters, Zuss and Nickles, who play God and Satan respectively. Each makes important points about the root of suffering and God's role in Job's pain. Zuss argues, in more words or less, that Job has no right to question God. Nickles, instead, sympathizes with Job's pain believing that God has been unfair to mankind and especially to this man. Please grant that these are simplifications of their arguments, one can write novels on the meaning of this play.
   Its not hard to imagine how the play ends, but like many things it's the journey not the destination that matter. The banter between the two, and satirical overtones of throwing the whole setting in a circus tent, take the reader beyond the norm. This is a story that requires the reader to engage, be prepared to think! You can not help but question your spirituality and faith during the play. For while few of us suffer as Job does, fewer still believe in God. Would you be able to still love God, if he took everything away from you?
   
   I'll be straightforward and admit that my review is biased. MacLeish's J.B. has been (since reading it in my High School AP English Class) my favorite. I'm an avid reader, but there's something so subtly beautiful about MacLeish's language, something so deep in his words that have resounded in my heart, that I am compelled to re-read this play over and over again. MacLeish has a profound message to teach us "modern, disillusioned men" that one would have to have a heart of stone not to appreciate.



3. I was familiar with J.B. when it first came out in the late 50's or early 60's. The story of the Book of Job was updated to a time when nuclear war was a possibility, and that was the backdrop for J.B.'s (Job's) losses. With the terrorist threat now prevalent in the world, the play is now more timely than ever.



4. Macleish's modern rendition of the Book of Job does an adequate job of converting the serious tale to a modern almost circus like story. Although sardonic at times, he keeps the main focus intact: WHY DO THE RIGHTEOUS SUFFER?



5. This play in verse is a modern take on one of the timeless questions of suffering during our lives.In this instance,JB loses his wealth, health and family and during the ensuing discussions with his "friends", it beomes evident that the story is not about suffering, but about faith.Very powerful,but short, descriptive scenes and dialogue.

No comments about The Thinking Body.

5 comments about Notes on Directing.

1. If you direct, or plan to direct, buy this book!
   
   The directorial wisdom in the book is presented in brief, powerful points that are well categorized. The directing books I have found tend to be tedious, dense, and self-important. Notes on Directing is a breath of fresh air--giving you just what you need.
   
   One word of caution: while Notes on Directing is an essential and fabulous book, don't expect it to tell you how to be a director. This is a book to refer to after you have acquired basic foundational skills.



2. 
   If you are a new playwright, and wonder what a director does, or should be doing (if he/she is directing your play), this small book will tell you briefly and succinctly.
   
   It begins at the beginning with the Script, then explains the Director's role, Casting, Rehearsal Rules, Talking to Actors, Building Blocks, Staging, etc. The authors do not embellish, nor are they verbose. The information presented is clear and direct. Most important, the format allows one to go immediately to the section most needed if necessary.
   
   This book enlightens, makes one think, and is an invaluable learning resource.



3. If you seek to be a director, you must have NOTES ON DIRECTING: it looks small but it packs in notes gathered by British director Frank Hauser for his apprentice - notes which came from a long career in the industry. Hauser shared these with many famous theatrical and cinematic figures from Richard Burton to Sir Alec Guinness: now the former student expands upon his mentor's private notes to provide a book-length treatise appropriate for any student of directing. Chapters are packed with advice, explanations, quotes, examples, and insights into the director's role: a 'must' for any who would assume such a mantle.



4. This book is a MUST for all involved in the theatre.
   It's a quick read & an excellent sorcebook- VERY well organized. If you want more of a textbook on directing, go with Catron's The Director's Vision. But this book (Notes on Directing) is GREAT to have on hand during the process.



5. We are presented with an artful, intelligent, and incisive opening of the doors to the art of Directing a dramatic production from a very real human level. Author Russell Reich received wisdom from teacher/mentor Frank Hauser(CBE)in the casual hand-off of several pages of loose notes accumulated over the years of Hauser's teaching on two continents and directing many of the true greats in British theater. With deep and careful further observation of this directing great, Reich recognized further significant attributes of Hauser's approach.

   Adding his own turns, gentle humor, appreciation of people, and insistence upon quality in presentation of dramatic works, Reich has created a manual for presenting drama for public view in what may well be a no-fail approach. All of this is accomplished without infringement upon the ability and need of a director to create the presentation which is clearly his or her own. More is always available to be gained with each successive reading and practice with this guiding gem.

   Kudos to Hauser for his clear accomplishments over many years and generations of theater; and to Reich for bringing the methods for those accomplishments to a reachable level for the lover of performance arts through incorporation of his own insights and wisdom.

2 comments about 36 Games Kids Love to Play.

1. This is a great resource for teachers who use Responsive Classroom. There are a wide variety of activities that are easy to do with your class.



2. A great resource to get recess under control. Packed with simple yet fun games that kids LOVE. The games don't need many materials and they don't take a lot of preparation. Fantastic ways for kids to let off energy and build cooperation in your classroom community at the same time.

5 comments about Ubu Roi (Dover Thrift Editions).

1. At $ 3.99 a copy you can't go wrong. I found this in the bargain bin at a local bookstore and thought I was in an absinthe delirium. The brilliant beginning of avant-garde theatre. Don't miss it.



2. Silvermom's review of Ubu Roi on this site is misleading. It refers to the New Directions edition of the play, now unfortunately out of print. The Dover edition does not have the delightful line drawings, nor the added essays on theatre by Jarry. Also, I don't much care for Dover's gratuitous (and inaccurate) translation of "Ubu Roi" as "King Turd." On the other hand, as far as English translations go, Dover's is pretty much the only game in town. And Jarry's game is wonderfully worth playing, full of rambunctious anarchic high spirits. Just so you have a better idea of what you'll actually be getting.



3. 1991 22nd printing includes; Ubu Roi, a Drama in 5 acts; The Song of Disembraining by Alfred Jarry; 2 essays on the theatre by Jarry - "Questions of the Theatre" and "Of the Futility of the "Theatrical" In the Theatre";2 portraits of author by L. Lantier and F. A. Cazals;several drawings by Jarry and Pierre Bonnard;204 drawings by Franciszka Themerson doodled on lithographic plates. Fascinating book!



4. 1991 22nd printing includes; Ubu Roi (drama in 5 acts); The Song of Disembraining;2 essays on theatre by Alfred Jarry-"Questions of the Theatre" and "Of the Futility of the "Theatrical" In the Theatre";2 portraits of the author by L. Lantier and F.A. Cazals, several drawings by Jarry and Pierre Bonnard and 204 drawings by Franciszka Themerson doodled on lithographic plates. Fascinating little book!



5. Hugely, magnificently funny. I saw a live production of this play on an education channel some years ago. It is totally anarchic and joyful.

5 comments about A Practical Guide to Stage Lighting.

1. I love this book, a must for any one interested in the running out a show behind a lightboard. Very useful!!! A+



2. This is hands-down the best book I've ever read regarding the process of designing and executing a lighting design. Other books do wonderful jobs of discussing instruments and electrical aspects, or how to create a design, but very few discuss the day-to-day paperwork and personal interactions involved in getting that design executed. This book addresses that subject thoroughly, discussing what documents to create, how to schedule time in the theatre, how to work with all the other folks involved in creating a production, and so on. Highly recommended.



3. I would say this is NOT the first book to buy or read for someone wanting to learn stage lighting design. The books does not cover the basic theories.

   But - it offers a very good guide to the real-world contraints and demands of lighting. The author give very concrete and useful suggestions and advice. Analysing a complete design ('Hokey') step-by-step is a clever move. It is also the perfect book for those who want learn how to accurately document their designs to last nut and bolt. Even with my 20+ years in lighting and lighting design, I found this book a worthwhile addition to my collection of lighting textbooks.




4. Get This Book! This book has everything a aspiring lighting designer needs. Shelley clearly shows his thoughts with clear illustrations. The first page is his complete lighting design for a show!!Buy It!



5. "A Practical Guide to Stage Lighting" is destined to become the definative source of instruction in the field of theatrical lighting. With the books emphasis on the process of light design it gives the reader the tools necessary to create the art. Whether your goal is to become a good stage electrician or a good designer the explainations in this book will allow you to work and communicate quickly and efficiently during that precious time allotted for load-in, hang and focus.

   Steve Shelley, by taking a chronological approach to light design, illustarates exactly what goes into a successful design. He defines his terms, explains why he does things, and provides anecdotes and insights that make the book entertaining and easy to read.

   The final section of the book on how to focus lights will teach you more about creating and implementing a light design than any other book you have, can or will read.