3 comments about Movement for Actors.

1. I share the sentiment that any serious aspiring actor should get their hands on this book. It is both clear and concise, and tackles the major movement principles currently in play across many types of performance. If one realizes that in order to work and grow as a performer, a strong understanding of both technique and theory from a variety of sources is needed -- this is a 'must-have'. It is required supplemental reading for my movement classes.



2. Compiled and edited by Nichole Potter (Adjunct Professor, Theater Department, Marymount Manhattan College), Movement For Actors is a comprehensive guide to the physical skills needed for effective performance on both the stage and the screen. Individual chapters address everything from the Feldenkrais Method, to Shakespearean dance, to biomechanics in this must-have for serious aspiring actors. All of the major methods are surveyed including the Alexander Technique, the Feldenkrais Method, and the Laban Movement Analysis. No highschool drama department, college theatrical department, or community theater group should be without a reference copy of Movement For Actors in their acting/performance studies reference collections.



3. Suzuki method, mime, stage combat, all in one book? I am impressed. Anyone who considers himself or herself an actor should read this book and get the jump on the (ample) competition. I come from theatrical family and I don't recall ever seeing anything this thorough on the subject. Break a leg!

5 comments about Arcana: Musicians on Music.

1. Arcana is a book that you will go back to again and again.Whether it is to look at Fred Friths notes on composing and playing ( great fun for Frithophiles deciphering the music involved)or the fingering techniques of Bill Frissel this is a book that inspires the act of making music.All of the contributors have uncovered some real gems and John Zorn has done a great job editing this book.
   This is not a how to book by any means, in fact Arcana offers far more than that.This is a what if book, a glimpse rather than a map.
   If you are a musician I feel you will find lots of things in this book to inspire, and for music fans we have a history of sorts that I am sure will enrich your listening pleasure.
   Highly reccomended.



2. largely this is a oblique promo book for Zorn & Company,and other CD labels Tzadik,Hat Art, RecRec, Avant,Atavista etc., as already noted in other reviews, well the avant-garde gotta survive, some do and some don't.
   Some are erased from history,
   Most of the contributors here play outta The NYC Big Apple,anyway,although writers were selected from all over.It'll be interesting now to see how the cultural scene in NYC develops in light of the World Trade Bombings,especially the free improvisors.
   Zorn's a good editor,however, and books like this bring a sense of solidarity in what remains a asymmetrical culture, with no one knowing what each other does and responds to. The musical world is notorious for this social/cultural fragmentation.
   I suppose George Lewis,who doesn't now live in Chicago represents the Midwest since his long time,'lontano' long ago association as a kid with Chicago's own AACM. Well that don't cut it.There are other in Chicago who contribute greatly to the scene as the CUBE Ensemble,and Chicago free improvisors. I guess we should get our own promo book.
   Garland,Ochs,Rosenboom represents the West Coast, Yeah I guess!Bill Frisell offered renderings on different guitar fingerings was useful, although quite brief,like something he wrote on the bus on the way to the Gig.Likewise Guy Klucevek,Accordeonist/composer as well added some notes,real music notes,I never read anything he wrote,but again something on timbral poossibilities of the Squeeze Box for composers might have been incredibly useful. and,pianists S.Drury and Marilyn Crispell should of talked more about how they play,they play great!, and varied,I'd like to know in print what excites? them why they choose the music they do?, Yes we all know why they choose it, but a little explanation for us unwashed- dispossessed out here who pluck down our Bucks to buy the stuff would have been helpful, a little.
   
   Larry Orchs of Rova Sax Quartet, gets into it, ya might think its pedantic to give licks, noodles and fragments of it, as he does but its a world of use,I sat down ans played all of it, loved it.
   Some get into philosophy and the results are abysmal like David Rosenboom's shibboleths,too much science sometimes is a bad thing, and he's a great contributer to the electronic thinking of music,computer base pieces,But I'd rather read Kristeva,Derrida,Baudrillard,or Habermas on the Public Sphere if I wanted to read philosphy.But there was a practical side to his essay on the idea of propositional music.
   A bit more useful was Miya Masaoka "Notes from a Trans-Cultural Diary". Since the real operative term is multi-culturalism not postmodernity, this was infinitely useful to read other persepctives, and means of performing and improvising with non-Western instruments.
   
   The most political here was Pauline Oliveros's Questions answered by David Mahler, on how we all survive??, what our music is suppose to do???, how happy are we with the results??, who listens to our stuff?, all this throws quite directly the political question into the discursive/dialogue mix. Whom do we Serve? I believe Rzewski asked many many years ago.
   There's also some neat goin exegetical excursions into the real sound timbre experience as Elliott Sharp's CARBONic History, Hey man whatever floats yer boat.
   I know it's easy/facile playing 'Monday Morning Quarterback-Composer', But there was nothing on the Voice,Diamanda Galas,or Anna Homler,or Carol Genetti,should have written,scribbled something for this.
   Peter Garland,the man of the Desert, is always interesting to read, another who has the guts of throwing the political question into the mix. Since Mickey Mouse and Bill Gates won the Revolution, he has some great stuff to say.
   I think there should be more writing like this,no matter what the price, Again the greatest observations of Oliveros is that the avant-garde should serve itself first, we should all help each other work at each other's music,Yeah Right! Well not in this best of all possible Worlds.But it's a neat profound concept to contemplate
   I think Charitable behemoths might loosen up on their tight purses for more writing emanating from improvisors,pianists,thinkers,composers,conceptualists, as those in 'Arcana' here,of course, ya all have to learn how to wryite, not like me,ee,Charitable people like to hold onto the objects they throw bucks at(not their's) than the music they will never hear, nor go to a conceert anyways,Music is toooo much part of the ether,rareified air,and it's all part of the hypocrisy we all live by and with.



3. As John Zorn outlines in his introduction to the book, he assembled this project as a reaction to the lack of insightful critical writing about the generation of adventurous musicians he is a part of. This group of artists and their work is not easily defined, although critics have tried applying ambiguous terms like 'comprovisation,' 'postmodernism,' and 'totalism." Anyone familiar with the output of record labels like Tzadik, Avant, Atavistic, and Knitting Factory will recognize several names among the contributors. Unlike the usual music essay which dissects an artist's recordings, most of these are very informal and intriguing peeks into the thought processes and compositional practices of the musicians themselves. Bill Frisell provides an approach to guitar fingering, Marc Ribot talks about earplugs, Ikue Mori discusses how she works with drum machines, and Bob Ostertag details how he adapted the sounds of a queer riot for string quartet. There's a discussion on plunderphonics with John Oswald, an overview from Elliott Sharp on his group Carbon, and David Mahler expounds his responses to a set of nine questions posed by Pauline Oliveros. The writings range from brief 2 or 3 page entries (Mike Patton's "How We Eat Our Young," Marilyn Crispell's "Elements of Improvisation") to long and elaborate essays (Scott Johnson's "Counterpoint," David Rosenboom's "Propositional Music"). Some of the contributions are more unusual, such as Zorn's "Treatment for a Film in Fifteen Scenes," Fred Frith's notebook extracts, or Peter Garland's journal of his trip to Australia's Northern Territory. All of them provide for inspiring and thought-provoking reading, making this an invaluable book for both fans of these artists and aspiring musicians of the avant garde. An appendix of brief bios for each artist ends the book, along with short lists of recommended listenings.



4. This is an excellent book, with brilliant music contributors like Marc Ribot, Fred Frith, Mike Patton, Bill Frisell, and many others (mostly Tzadik/John Zorn related musicians) - a must read for the contemporary musician/composer, and for those who listen to and appreciate the music of John Zorn.



5. This collection of essays, notes, scores and proclamations of artistic vision serves as an amazing "manifesto" for the Downtown New York improvised/avant music scene. Edited by Maven John Zorn, the text features contributions from guitarist Bill Frisell and trombonist George Lewis (both of whom, along with Zorn, released the wonderful "News for Lulu" LPs in the late 80's and early 90's) among others. A definite must-have for a fan of this scene, free/avant Jazz, or music in general.

4 comments about Great Scenes and Monologues for Actors.

1. Some of the monologues are a bit more adult. If you are buying this for student actors, pick and choose wisely.



2. This book has a great many scenes and monologues, and nearly anyone can find one that works for them. While some of the plays that are excerpted are a bit obscure, I found this to be only a minor setback, thanks to the magic of online book purchasing.



3. The first 15 pages are devoted to creating the character and I found them very insightful. A nice, wide variety of monologues & scenes and I really liked the addition of several Shakespearean monologues at the end of each section. It's a plus that there Shakespeare monologues that are not often used. Some of the monologues/scenes in the book are from: An Ideal Husband, The Three Sisters, Master Class, I Hate Hamlet, Conversations with my Father, The Miss Firecracker Contest, Steambath, and much more...I highly recommend this book.



4. I found that this book was really useful because there is such a wide range of material, however, I did find that when I found a good monalogue and wanted to read the whole play it was not available anywhere on the net that I looked. This was bit annoying because it is impossible to successfully create a character from just a monalogue and is even difficult with the whole play. As I mentioned before there is a very wide range of plays, from Shakespeare to the author himself.

5 comments about The Elements of Playwriting.

1. I have just started to write plays and bought this book based on customer reviews. The reviews were right on, for this author gets his points across in a clear and concise manner. All of his suggestions are so valuable and useful not only for playwrining but fiction writing also. Mr. Catron has a passion that he realtes to the reader, giving them the incentive to start up and keep going to completion. Great book!



2. I only have one negative thing to say about Louis E. Catron's "The Elements of Playwriting," so I'll get it out of the way right off.
   
   In various spots in the book, he makes critical remarks about both soap operas and the "Perry Mason" TV series that make me wonder if he's ever actually watched them. The writing cautions he connects with the remarks (respectively, always make sure your characters' emotions are motivated, and avoid a "deux ex machina" ending) are absolutely legitimate, but using these as illustrations are simply untrue.
   
   In most other books such false reporting would seriously damage the writer's credibility in my view, and indeed it's the one thing that keeps me from awarding a full 5 stars. The one saving grace in Catron's case is that every other piece of advice is illustrated accurately, if not explicitly in the text. He shows quite well how to make your story appeal to directors, actors, and audiences, not only explaining what they look for but illustrating how to achieve it.
   
   As with any book on writing, this is meant to be a book of ideas, suggestions, and recommendations to empower us as writers rather than restrain us. Where an accepted "rule" goes against the story we want to tell, we're expected to be true to the story rather than the rule. Every other book on this topic has taken this attitude, but Catron consistently takes the next step and cites plays that illustrate how nearly every rule has been broken by a successful play, and why that play succeeded in spite of breaking that rule.
   
   Catron is a completist in other ways as well, taking the reader from the conception of a story all the way to a list of playwright's resources (such as directories of literary agents).
   
   Whether your playwriting is a hobby, a sideline, or a prospective career - or even an established one - I highly recommend this book.



3. The Elements of Playwriting is a great book for anyone who wants to understand what it takes to write a play. Catron goes over everything a person needs to know including creating characters, building a plot, and constructing dialogue. I really liked the chapter on What Makes a Play.
   
   Even if you are not a Playwright, but you are involved in the theatre in another capacity, such as an actor or stage manager - you would still benefit greatly by reading this book. It will give you a great understanding of what a Playwright must accomplish in order to get his play to the stage.



4. I completed the first draft of my play "American Brass" back in 1999. It was pretty awful. Then, I found this wonderful book by Prof. Catron. Following the guidelines and inspiration contained in his book I eventually transformed the draft into a stageworthy script.

   Before reading his up front advice "Don't show anyone your first draft", I had given a reader a look at the play. The reader, an experienced theater person, tried to be helpful with constructive comments, which I came to understand after reading Catron's book meant - I had no plot, my characters were flat and I was writing narrratives rather than dialogue.

   This book provides a clear understandable guide to the structure and dynamics of a successful play and how to write one. Rewrite, rewrite, rewrite.. and before each rewrite review Caron's book for insight and inspiration.

   There's also practical advice - look to get your play on stage not necessarily on Broadway. So I had a high school do a reading and then a church group and now I have the area community theater interested in a full production.

   Thank you Prof. Catron




5. I am a Midwestern physician by day and fledgling playwright by night. One year ago I decided to take an idea to paper and wrote my first play. The story was clear in my mind so the writing went easy. Within six weeks I had completed a rough first draft. At this point I ventured over to the local bookstore to see what books they had on playwriting. There were several, but Louis Catron's The Elements of Playwriting caught my immediate attention. Standing there, I skimmed the contents then read a few pages. The book was full of pearls gleaned obviously from a lifetime of experience in the theater. I bought the book and ordered a coffee to read more, (isn't that the way it always happens?)

   Catron goads our left and right brains into action in ten chapters that range from how to get the play started, formatting the text and incorporating Aristotle's six elements of live theater into the work, to suggestions on getting your work published and performed. Various exercises to get the point across are used along the way. The book is a joy to read; a superb "nuts and bolts" treatise for the novice and veteran writer alike. I pick up something new each time I read it. I particularly enjoyed the discussion on how to be a playwright, involving as much with how one "thinks" as what ones "does."
   

   In my opinion, Louis Catron's The Elements of Playwriting is the best book on the subject out there. It helped me complete my play and make it a more polished work. The book would be perfect as the main textbook in any college playwriting class. Louis Catron's "Elements" certainly "plays in the heartland!"

No comments about How to Direct a Musical.

5 comments about The Name Above The Title.

1. I have read many, many books on Hollywood and auto/biographies in general and this book ranks as one of the best ever. It is a very entertaining book that doubles as a great history of Hollywood through its golden age. Capra interacted with Hollywood's legends and reports in a funny, candid and emotional way his dealings with the likes of Harry Cohn, Sinatra, Disney, Monroe and many more stars of the thirties and forties. Do not think the book is dated: yes, some of the names are meaningless to us today but the perspetive and lessons contained in every single page are timeless. this book tells you better than any others how movies are made or should be made...



2. I cannot figure out which is more amazing and inspiring: the man, his films, his life or his autobiography.
   Every autobiography will pale in comparison after you read this one. Frank's book should come with a
   warning that he will open your mind, transform your relationship with films, and ultimatley find a place of permanent endearing love in your heart! Friends don't let friends go into the Light, without reading this book,
   as I am sure, it is required reading in Heaven!
   
   Frank's biggest fan, Vaishali, author of "You Are What You Love."



3. From the opening chapter which describes the incredible saga of how this man (as a young child) and his poor Sicilian family managed to come to America, to the end of his inspiring life and his brilliant career when he suffered cluster headaches so severe he could barely function, but kept his head up, this book captivated me. Capra exemplifies the American Dream, where a poor immigrant can become anything he sets his mind to be. Especially significant is his pure and honest soul. This book is SO inspiring.



4. Frank Capra's superb autobiography provides loads of fascinating information about the film industry during a thriving period, when he was one of filmdom's most popular and successful figures, as well as about the mindset of this intriguing man of accomplishment. What is refreshing, along with his basic candor, is that despite his enormous success he retains a humble and highly humane touch.

   Some of the most humorous anecdotes of "Name Above the Title" involve madcap, always colorful Columbia boss Harry Cohn, who took his Gower Street studio from the ranks of "Poverty Row" to the that of a giant. Capra helped significantly with box office smashes such as "It Happened One Night", "Mr. Smith Goes to Washington","Lost Horizon" and "Meet John Doe." It took awhile, but the Capra film which has soared to top spot in the hearts and minds of the public was the 1946 release starring Jimmy Stewart, "It's a Wonderful Life." The star was so enthused about the story that he pitched it personally to Capra after driving over to his house. Capra relates the time that he begged Cohn not to drop a struggling young cartoonist from the Columbia payroll, predicting that he would be sorry. Capra was right as the cartoonist was a young, meek Iowa farm boy named Walt Disney.

   One of Capra's great contributions was directing and producing the excellent World War Two documentary series "Why We Fight." He tells about being called into the office of Army Chief of Staff, General George C. Marshall, who asked him to undertake the project. "But I've never done a documentary!" a surprised Capra replied. Marshall pointed out that he had never run an army before either, and that the American way during the critical war period was for citizens to learn jobs with which they were previously unfamiliar. Capra saw Marshall's logic and the rest is history.

   This autobiography is fascinating enough for the interesting information about Capra's life. What makes it even better is that you are reading the revelations of a good man who did his best to instill positive values into his films, and to help in his distinctive way to make America a better country.




5. To begin with, several adjectives to describe this wonderful book: 1.) candid, 2.) inspiring, 3.) poetic, 4.) instructional, 5.) spiritual, 6.) humanitarian, 7.) humorous, 8.) compassionate, 9.) courageous. From what I gather, it took Capra approximately three years to write this book, and what book it is. To be honest, this book is perhaps one of the best pieces of work we might ever have about the legendary director, the course of the twentieth century, and the people who have helped shape the film industry. This book demystifies the often deified directors, actors, moguls that ruled Hollywood during the golden age, reminding us of the universal bonds of humanity that link us all to each other. In many ways, it reads like a Frank Capra movie -- life-affirming to the end. For the younger generation (X'ers and Y'ers) who might question the values of their fathers' generation, this book is a must read. Underline this fact several times because when Capra takes you into his fold and shares his world, it is an experience you won't likely forget. Most history books seem to be written with a detached sense of objectivity from an supposedly impartial historian. The results of such labor is often an uninspiring book that keeps the reader at arm's length from the fascinating history, often boring the reader to no end. No so with Capra's autobiography. Capra reminds the reader that people are still simply people, no matter what generation, no matter which occupation. There are always going to be saints, martyrs, bullies, intellectuals, clowns, idiots in every walk of life. Such an example can be seen when Capra served in World War II and was privy to a touching moment with the great Admiral Nimitz. The old war hero had just come back from seeing three thousand men he had sent off to war -- some of them now without limbs, others without faces, yet all of them saluting him and thanking him from the bottom of their hearts. Nimitz broke down and wept, his shoulders so burdened by the sadness of his men's suffering. Hitting his desk over and over again the Admiral cursed the war with ever fiber in his being. After a brief moment to recompose himself Nimitz thanked Capra for being in the same room... allowing one tortured soul to connect and draw strength from another. Personally, it is easy to find yourself laughing when he laughs and crying when he cries. Like all classic works of literature, this book is so fresh in content, that it inspires the reader to look into his/her own heart and find the beating pulse of humanity and to take pride in the fact that one such as Capra was able to do so much through his films. I look forward to reading this book again and again. And perhaps, others will agree and do likewise.

2 comments about 365 Days / 365 Plays.

1. Listen up: Brilliant writer -- Mount Holyoke, MacArthur genius grant, Pulitzer Prize, she's da bomb, all right? -- lives with her cats and her blues-musician husband in Venice (that's L.A.'s Venice), wakes up on Nov. 13, 2002, decides it'd be a good idea to write a play every day for a year (no exceptions), and she's honing her craft but this is also the run-up to the war in Iraq so of course a lot of her one-page sketches bash Bush real; husband says "cool," next thing you know there are theaters doing weeks and months of her 365-play cycle all over the country. (Got it goin' on right now in Seattle.) But in the meantime, you can enjoy this book -- which has its bland patches, sure (I sympathize with whoever has to perform the September plays) -- but Suzan-Lori Parks didn't learn from James Baldwin how to write drama like *Topdog/Underdog* for nothin'. At their best, Parks' playlets are miniature lessons in how to write for the stage.
   
   Parks has her fixations -- Abraham Lincoln (he lives to age 89); arms that are frozen before the knife can kill; racial injustice; literalized metaphors (an actual Window of Opportunity that actually closes shut); stage directions that can never be enacted; playing possum; plutocracy ("The Presidents Day Sale"); warmonger dictators -- but it's interesting to watch her ring her themes' changes.
   
   Many plays are startling and compact, with topics like watching over a sleeping stranger as an image of compassion ("The 1st Constant"); spoofing Neil Simon ("Barefoot and Pregnant in the Park"); Bush murdering his own soldier and calling it "poignant" ("House to House"); mothers protecting and relinquishing their children ("Behind the Veil of the Goddess"); breaking the cycle of poverty and crime ("My Father Was a Famous Mother"); women and men always failing to get along ("Epic Bio-Pic," "Vase" and "Bear"); representing despair and its cure metaphorically ("Plenty"); and ridiculing sectarian war ("Everybody's Got an Aunt Jemimah").
   
   Some plays overlap; some plays interrupt others; and some of Suzan-Lori Parks' plays stretch people's minds out to infinity.



2. this is an innovative, intimate, lumen to a writers personal daily offering. Suzan-lori Parks has written a play a day for a year totaling over 365 works ( on some days she wrote more then one. Each play or playlet is of gem quality and despite their brief duration some less than a page, are nevertheless complete works. it is the distilled, no frills quality of these plays that bring the nectar sometimes sweet, sometimes bitter. well worth reading or performing as can be attested by the numerous actors and production companies now involved with the national premier of these plays. Over seven hundred theatre companies in 15 different cities have come on board for the production. A great addition to a library of classic, enduring work

5 comments about It's Always Something.

1. This book is less an autobiography than it is a memoir of dealing with cancer. The entire book is pretty much about the nitty gritty details of cancer, which could prove a valuable comforting resource for those going through something similar. Wish there had been more about her life and career. But it's pretty much all about cancer and Gene Wilder, whom she obviously adored. I like that it feels like you can hear her voice when you read--it sounds like her and can be very funny and touching. She seems like a great person and someone you would have loved to know as a friend.



2. I was diagnosed with colon cancer in April 2005 and life has never been the same. My partner purchased this book for me and I loved it. I loved it not because it read like a self help book but because it read as a true commentary of life with cancer. It's words touched a part of me that no self help book could ever touch. Radner's everyday dealings with this insiduous disease made me laugh and cry and boil over with anger. Radner's words help me to roam through the numerous rooms that one staggers through after a diagnosis of cancer. My heartfelt thanks to Gilda and I would recommend the book to everyone who is affected and infected with cancer.



3. I first discovered Gilda from watching the TV-movie of this starring Jami Gertz on ABC back in 2002 (which I don't recommend for highly-acclaimed critics, or to anyone for various reasons resting solely on the persona portrayed by Gertz) .
   Although growing up in Detroit, I wasn't very familiar with Gilda as one would think, being from the same town. I looked EVERYWHERE to try to purchase this book, on here, Border's, Barnes&Noble and other various websites and my last resort, eBay (which I recommend if you don't know where to purchase it). In which case, I received it in the mail after a week or so, ripped opened the packaging and read it like a fat kid eating cake. Wanting more. After reading the book, you feel like you know Gilda. While reading the book, you feel like you know Gilda.
   She starts off talking about her random excursions in her ambiguous life, how she wanted her story to go one way, but it took a left turn and made another. Gilda especially highlights her relationship with Gene and how they met, where they got married, the process of getting married in a French town hall and saying "I do" at every pause, because she couldn't understand the French language. She did everything in her power to try to become Gene's wife. She suffocated him, he moved to New York came back to see her in Connecticut and when "the ducks were landed" she ended her relationship with Former SNL lead-guitarist, G.E. Smith and so began the relationship between Rosanne Rosannadanna and Willy Wonka. Her never ending battle to have a child, put me at the edge of my seat as she went through 2 miscarriages.
   Feeling unexplainably fatigued all the time, she tried to find the source of her problem by taking vitamins, sleeping more, eating properly. She stopped smoking (a habit she picked up at age 14) and went to doctors who mis- prescribed her with "Epsom-Bar Syndrome." Eventually, it got to the point where she couldn't get up and was constantly tired, so she got other opinions and was diagnosed.
   STAGE FOUR Ovarian Cancer.
   Afraid to be seen in public, she took therapy and began to realize how many other people were suffering from the same thing. She joined the Wellness Community, found her place and died on May 20, 1989. This book touched my heart from beginning to end. As if she was my life-long friend. I own the original 1989 edition, and I am NEVER letting ANYONE else touch it.



4. Gilda Radner was a very fine performer, but this book--not devoted to her entertainment career--shows her to be a class act off-stage as well. Some of us are lucky to have faired well at the hands of brilliant medicos, and are very grateful for it, but anyone who has had long-term experience with America's byzantine medical system knows how easy it is to become fixated, to the detriment of one's own health, upon its appalling lapses and petty cruelties, and lose sight of what's positive. Practically crawling, doubled-over in pain, before doctors took her condition seriously, and, later, away from treatment for an extended period of "remission," only to find out it was merely a mistaken test reading, Radner shows no bitterness in this honest, brave, and, yes, sometimes funny book.
   
   Someone so famous during the golden era of "Saturday Night Live" that she could hardly walk the streets of New York without being mobbed by fans, Radner is reduced by illness to humble sprees involving bingo parlors and mail-order catalogues. Demonstrating resilience, but also a sweet brave sadness that makes you hope, against all sane logic, that things will turn out differently.
   
   It has been written elsewhere that when Radner was very ill in the hospital she would make the rounds cheering up other patients, introducing herself "Hi, I used to be Gilda Radner." There you have it--that transcendent quality humor sometimes has to defy all human limitations, even death. Fortunately Radner will defy it more than most because her warm, precise and yet delightfully silly comedy will live on in tape, film and this very good book. Thank you, Gilda, you will always be really something.



5. How wonderful to read something by the funny and wonderful and loveable Gilda Radner. Her descriptions of her trials and tribulations with various doctors..her descriptions of her house. Fate with cancer as a fate worse than the interior decorator..Love for the world..A shining example..A wonderful lady who inspired me during my chemo..Love to her..I shall conjure..The spirit of the one who made us feel not alone..

3 comments about Block Building for Children: Making Buildings of the World with the Ultimate Construction Toy.

1. Great book for all aspects of block building from the beginner to the advanced. My son is almost 4, wish I would have got it a couple years ago.



2. Genuine hardwood unit blocks are THE best toy for children. I have a fairly large set of them and my children, who range in age from 2-8, all sit down together (and separately) and play with them. The blocks become horse stables, airports, buildings, hotels, doll houses, highways, you name it!! And when other children come to our home, the blocks are invariably the first thing pulled out and played with.
   
   In general, I've held that open-ended toys like blocks should be open ended, that kids should be encouraged to make their own creations, not carefully recreate someone else's construction.
   
   I make an exception for Lester Walker's exceptional book. Some of his buildings are so realistic - his cathedral, roman temple, and skyscraper, for example. It is so interesting to see how he takes the basic block shapes to make such complex looking structures.
   
   Other projects in the book invite hours of play, such as his shopping mall, airport, and boat dock.
   
   I highly, highly recommend this book.



3. This is the best book on the topic of block building that I have ever seen. Black and white photographs of the beginnings and completions of interesting structures are shown, as well as carefully drawn plans for building each structure. While recommended for older children on this site, I highly recommend that it be included near every block corner in kindergarten classes. The children are able to visualize, then extend the ideas contained in the book, and have become much better block builders as a result. One very positive thing is that the book tends to attract girls to the block building area, where they carefully study the plans and cooperate to try to reproduce the structure. Since block building is known to nurture spatial sense, an important math skill, anything that encourages girls to participate in block building is highly recommended. (By the way, boys love it too!)

2 comments about The Mime Book.

1. This book is the one that made me decide that miming is not just an art; it's a way of life.
   
   Many a lonely hour I have spent in my dorm room hoping that someone could understand my need to mime.
   
   But upon reading this book, I realized that I do not need to hide my mimicry. I am a mime and damn proud of it. Once I graduate, I plan to spend most of my free time doing street mime in NYC. I would urge parents to have their children read this book. Perhaps then they too can become like me, a proud mime!



2. A complete book for one wanting to learn the art of mime. Profusely illustrated with student exercises, it starts by isolating individual parts of the body and showing their range of expression. It then combines body parts and actions to build a complete mime vocabulary. All the tools of the mime are explored and explained -- pressure, immobility, contact, manipulation, reaction, walks, climbs, water, and wind. Theory is kept to sidebar boxes, so the student can study them at leisure. The book finishes with chapters on improvisation and the history of mime.