5 comments about Our Town: A Play in Three Acts (Perennial Classics).

1. What can I say, it is the script to Our Town. I have found a couple of places where it differes from the Samuel French script by a sentence or two.
   
   One VERY GOOD difference is that THIS script also has a lot of background on Thornton Wilder and the times that the existed when the play was writen and first produced.



2. I don't understand why people are saying bad things about Our Town, because it is a very wonderful play with three acts, centering around a small town, Grover's Corners in New Hampshire and the lives of two families, the Gibbs family and the Webb family.
   
   It is a very wonderful play about life in small town before cars and electronics and how they lived. It is a beautiful play that is very excellent and everybody should read it, for it is a quick read, but a very delightful play.



3. By most accounts Thornton Wilder (1897-1975) considered himself a teacher rather than a writer--a curious situation given than he won numerous literary awards, including three Pulitzers. Among these prize-winners was OUR TOWN, first staged in 1938. It is generally considered to be the single most famous play written by an American author, and Samuel French Inc., which holds the amateur performance rights, states that it is performed at least once a day somewhere in the world, as popular abroad as at home.
   
   The play is perhaps most widely known for the way in which it is staged. The stage is bare. A few chairs, stools, tables, and ladders are used to indicate a kitchen, a bed room window, a soda fountain, a cemetery and other locations; the actors mime use of imaginary glasses, plates, bowls, satchels, and boxes.
   
   The story is equally simple. The first act introduces us to the town, Grover's Corners in New Hampshire, seen in the early years of the 20th Century--and most particularly to the Gibbs and Webb families, who live next door to each other. The second act finds boy-next-door George and girl-next-door Emily marrying, and a flash-black shows the audience how their romance began. It is a simple tale, full of details of small town life, church choir on Wednesday night, milk delivered fresh each morning, breakfast to be made, chickens to be fed--and slowly, as the action moves forward, we are drawn into this simple way of life and its seemingly endless and trivial repetitions.
   
   Wilder swirls a number of themes throughout the work, themes that are simple yet profound, details of the particular and the universal--and these gather suddenly, unexpectedly in the third and final act, which comes as a shock after the charming ease of the play. Emily has died in childbirth and she takes her place in the cemetery among the dead, all of whom patiently wait and watch for something which is not yet clear, the minutes passing one by one into eternity, their memories of life fading into nothingness, a portrait of darkness that is yet somehow still seeded with light. It is here that Wilder makes his ultimate statement: who are you when you have been shorn of all earthly details and devices? Where do you exist within the mind of God?
   
   Many non-theatre people find playscripts difficult to read, and in truth playscripts are a blueprint for directors and actors and not intended as reading material for the general public. This is preface to the very basic statement that some plays "read" well and some do not--and that this is not necessarily an indication of how the play actually performs. On the page, OUR TOWN reads a bit flat; it seems a shade obvious, a shade ordinary. On the stage, however, it easily one of the most delicately beautiful constructs imaginable, a play which demonstrates the beauty and value of each life--no matter how ordinary it may be. Remarkable stuff and strongly recommended.
   
   GFT, Amazon Reviewer



4. Thorton Wilder's short play, "Our Town," follows the lives of two close knit families, experiencing the different stages of life: birth, childhood, adulthood and death. I recommend anyone to read this play just so they can have the opportunity to read about the phases that others go through. For example, the story mentions the common worries, concerns and yearnings of parent Mrs.Gibbs, who wishes to take a break from the stressful life of being a mother yet she is held back by the contrasting wishes and aspirations of her husband. "Our Town" is filled with amusing yet relatable events of being disciplined by your parents, which remind us of our childhood, such as when George is admonished by his father. Another interesting tale unfolds as we witness a young relationship between George and Emily flourish into a marriage. Their entertaining anxieties while dating, and even getting married, are humorous and thought provoking for young readers. Unexpected turns of events and sudden losses conclude the story, leaving an important message for the reader which is, care and treasure your loved ones while you still can.



5. One significant feature of this play is its simplicity in both plot and props. While it carries great meaning throughout, the story does not feature any extreme, earth-shattering events. Instead, it presents the plain, daily occurrences in a normal small town, allowing the reader to follow the story in a simple context. In addition, although the reader undergoes a different experience than the play-goer, it is evident to all that the conspicuous lack of props is a prominent element that further emphasizes the simplicity of the story.
   
   In three acts, Our Town presents a complete view of three different stages of life: daily life, love and marriage, and death. The play focuses on two families, the Gibbs and Webb families, yet it gives a panoramic view of many townspeople's lives in Grover's Corners. More specifically, the play follows the relationship between Emily Webb and George Gibbs. We first witness them in their youth, as they realize their passion for each other. The story then skips forward to their marriage and finally to Emily's death, as she is finally able to witness her life without actually worrying about daily demands. When she is finally allowed to witness life in her town pass by as a spectator, Emily falls into a heavy regret at her wasted life, as she realizes that nobody takes the time to truly look at each other.
   
   Stressing the importance of the simple, daily wonders of the world, Thornton Wilder underscores the appreciation of life due to both its brevity and its inherent beauty. The third act is truly epochal, as it presents the general purpose of the play through the death of Emily; as she relives her 12th birthday, she realizes that no one cares to really appreciate each other or their own lives. Emily, as with every other citizen in town, is too concerned with her own life that she is unable to see the beauty of it, and she ends up missing the most seemingly trivial of things afterwards, such as sleeping and taking baths. Wilder, by contrasting Emily's life with her death, demonstrates the consequences of falling into a state of content and complacency with one's life; instead of blindly following a routinely schedule everyday, Wilder teaches the audience that they must be grateful for the daily wonders of life, as they may be gone the next day.
   
   This is not a good book for those seeking entertaining and action-packed plots. Truthfully, I did not enjoy reading this book until I understood the meaning in the final act. At first glance, the play seems to drag on, depicting the mundane lives of ordinary people. Yet when I got to the third act, I realized that this is exactly how Wilder wanted us to feel: bored in the first two acts at the seemingly simple things in life, yet remorseful in the last act due to the intrinsic ungratefulness of our lives. Anyone looking for play with a relevant, significant message to everyone's lives should pick up this book immediately.

5 comments about Dynamic Alignment Through Imagery.

1. There was nothing wrong with this product. My daughter dropped the class in college that required this book; therefore, she didn't need the book any longer.



2. I find that all of Eric Franklin's book are invaluable for anyone interested with body movement.
   
   Dancers, fitness instructors and even therapists have much to gain by the use of imagery.



3. The body is an amazing thing. We look at architecture and don't see a simularity in it with us, yet just as beams and walls and cielings support buildings, bones, ligaments and skin support what we inhabit and live in. Just as a building's foundation and subsequent floors affect how it stands and reacts in an earthquake or wind storm, how we walk, position our pelvises, carry our shoulders and necks and arms affects how we react to our environment and as this book emphasizes-- gravity.
   
   DATI brings together everything wonderful about our bodies. Gravity isn't good or bad, it just is and we need to learn to deal with it. DATI is one of the best books on getting to know your muscles. If you don't know why they or even if they do and where they are, you can't work with them. Franklins visualization is second to none as far as helping the reader gain feeling through imagining water or air finning up an area and then letting it all out. He takes what we can relate to, describes it in another area, and moves us through to places that we didn't have names for.
   
   Franklin has a sense of humor. (Humor is imporatant because it establishes a sence of the irony in looking at life.) He tells the reader of a commedian who went to basic training. After a week, his stomach started to feel funny. He went to many doctors, convinced that something was dreadfully wrong only to discover that for the first time in his life that he was not suffering from heartburn! This is important because in changing our bodies, when we change soemthing that is bad, it might not feel right.
   
   I highly reccommend this book especially for GYN patients. Doctors who aren't trained in body movement will not understand how to guide their patients into understanding. I've had nine children and was getting revolted by what I felt like I had no control over. Since I am a yoga practicer, I decided to see what I could do before an operation and this is turning out to be a great investment. I think the best thing is that I have gotten control over muscles that are attached to bones that are attached to connective tissue that work with inner organs that were once loose. I am not afraid to sneeze any more or of watching nurses react with paste faces to what I tell them. This book has helped me get more acquainted with my body so I am able to discuss it. It's very hard to go in to a doctor's office, see a nurse that you've never seen before and start discussing problems that you never thought you'd have to deal with. When you know your body, you can speak with confidence about it. (In my case, the problem is in the process of being fixed.)
   
   I highly suggest that OB/Gyns/urologists and family practitioners at least read this book. Without an understanding of how the body's muscles are used, doctors don't help us unless they are cutting in to us. I almost had an operation based on one doctor's response to my sagging organs with, "OK, I can operate on that." The man is nothing but a body mechanic-- he doesn't understand how our bodies work-- just that when they don't that he can fix them through an operation, and isn't aware of what a patient can do to help her-or-himself, yet he is one of the alleged finest in our state. He's really not that great-- he's like a musician that can only play one style of music with one instrument. If he was ever inspired, he's lost it. I am not slamming him; this is the case with many, many doctors. (This is the case with anyone who has done the same thing for too long and not realized that how little they know.)
   
   I urge patients to learn from books like this and learn to ask questions and help yourselves. Doctors are slaves of convention and the latest word from the AMA. I am not against operations to fix what doesn't work, but the ramifications of an operation can be bad-- for what my doctor was proposing, I would have never been able to do certain stretches and bends in yoga. Give your self six weeks to try Franklin's approach and fix your problem and if it doesn't work, get operated on. I will warn anyone doing this that if you don't have a background in body movement, ie; yoga, dance, some type of athletics, it will take longer to get results. Our body awareness starts on the outside and works inward, and you will have a new vocabulary to get familiar with.
   
   Imagery is hard. You have to know how to focus. I highly suggest that you try yoga. I learned to empty my mind in a Hatha Yoga class and learned to chant because it kept my mind on my body position and my breath. I am a highly amped person and need this-- others may be able to do it more easilly. If you have never worked out before, I think that you will get better results from this book if you take at least a short class in something so that you can get used to how your body works. You may also benefit from Uta Hagen's Respect for Acting where she teaches acting using the entire body. Acting isn't about --I strike a dramatic pose here-- it's about how one REacts to the environment and this creates what you are phsyically.



4. I found this book to be eye opening, and immensely helpful with all the exercises that are discussed in the chapters. I improved my dancing within two weeks of reading and starting the exercises. It's concise with a nice touch of humor. I'm recommending this book to all my dancer friends both social and professional. I love this book and I have plans to purchase all of Eric Franklin's books.



5. I work in the fitness industry as well as dance. I see how important dynamic alignment is to do ANYTHING in dance and I think the general population needs a deeper understanding of it. I struggle with my balance and this book has been a wonderful tool to help me improve my technique.

5 comments about Inside Inside.

1. 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.



2. 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.



3. 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.



4. I, too, was initially perplexed at the amount of personal biography Lipton shares, but it is actually so well-written and interesting, I can forgive the reflective "boasting." Filled with fantastic stories about being a young performer during the Actors Studio heyday and the NY acting scene, "Inside Inside" does finally get to the stuff you wanted when you bought it (backstage anecdotes, how the show came to be). I was very surprised to find in James Lipton's autobiography a real gem of writing, replete with humor and fascinating tales of his life in the arts. He does an excellent job recalling details and I found his writing smart and smooth. There is one transitional jump toward the end - from establishing himself as head of the school that initially housed the Actors Studio to dining with celebrity guests at Elaine's - that seemed to lose some key narrative, but generally this is a very good read, especially for someone interested in acting. My main criticism is his continual effusiveness toward his wife's countenance... it is exhaustively established that she is the most stunningly beautiful woman on earth.



5. very good. Easy to read and a favorite TV program.
   Have passed it around to several households and good report from
   others

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

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



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



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

1 comments about Organizational Communication: Approaches and Processes (with InfoTrac®) (Wadsworth Series in Communication Studies).

1. Katherine has put together an excellent org com textbook: well-written, concise and very well organized. From Time-Motion Studies to Maslow to Theory Y, Ms. Miller gets down to the point, uses tremendous examples and gives excellent bibloigraphic information for further study.

   I took Org. Com. as the first communication class I ever had, and although it was a 400-level course, Kathy's book helped make it not only a pleasure and a joy, but the defining class in my determination to pursue an MA in Communication in the Fall of 2002.

3 comments about Motion Picture and Video Lighting, Second Edition.

1. After a long lifetime as a practicing director of photography, I now also teach graduate film and video lighting at the San Francisco Academy of Art University. In a quest for the best book for my students, one that provides background and needed information to the hands-on work we do, I searched through most of the available texts and found Blain Brown's to be by far the best book out there for aspiring directors of photography. Until this semester, I used his previous edition. I am delighted by this new edition, which brings many out-of-date issues up to date.
   
   For a purely technical book, a gaffer's "bible," see Harry Box's Set Lighting Technician's Handbook, Third Edition: Film Lighting Equipment, Practice, and Electrical Distribution



2. The thing about this book is that it is written from a completely professional point of view. It deals with lighting as it is really practiced on professional movie sets - not like most books on cinematography which seem to be written by people who haven't actually done it all that much in the real world. I've bought about every book there is on movie lighting and most of them are a waste of money.

   This book covers everything from a basic introduction to color, exposure and electricity up to the more complex technical issues you have to deal with as a gaffer or cinematographer: very thorough and comprehensive. The Set Technicians book is good if all you are trying to be is an electrician, but this is the one you want if you really want to move up as a gaffer, lighting director or Director of Photography. Except for one chapter (film exposure), everything in the book applies equally well to video, digital video or High Def. There is also a very good chapter on video which covers what you REALLY have to know to work in video lighting.

   If you work (or want to work) in the motion picture industry, knowing lighting is the key to advancement and success. This is the book to get if you really want to learn motion picture and video lighting.




3. Blaine Brown's book provides a decent explanation of set lighting, it's instruments and protocol. The text, though, seems to speak more to the cameraperson or AC who is curious about lighting. There is a lack of attention given to the juicers and hammers who are actually creating and shaping the light. There is a considerable amount of text granted to electrics and the distribution of power, but much more thorough and much more practically explained definitions are readily available in Harry Box's "Set Lighting Technician's Handbook."

No comments about The South Pacific Companion.

5 comments about The Art of Comedy: Getting Serious About Being Funny.

1. Paul has a gift for making comedy easy--whether you're an actor, a housewife, or a CEO. Comedy is so important in all walks of life, and this book helps bring out the "funny" in all of us. I highly recommend it!



2. Paul Ryan has the ability like no one else to bring out the humor and fun in anyone. His exercises and advice can help the most serious and intense lighten up and have a good time. Whether your an actor looking to improve your comedic talents or a business person wanting to inject humor in your presentations, this is the perfect book. Great gift for the holidays.



3. As a creative person, I am always looking for ways to improve my quality of life and add enjoyment for me and my clients. The Art of Comedy really gets down to practical ways of lightening up your day from basic daily activities to practical hands on comedy exercises. A++!



4. As an aspiring actor Paul's Book has opened my eyes to so many fun and interesting acting techniques I never knew about. I've been studying acting for years and this is the first of the many books I've read that has made learning comedy fun and simple yet at the same time has stretch my abilities which has forced me to explore many new avenues in my career. I recommend this book to all types of actors. Its always good to explore the various realms of acting, whether you be a comedic or dramatic actor.



5. I never knew being funny was so simple. This author really makes the way known,...what a precious skill,..seriously.

5 comments about The Prop Builder's Molding & Casting Handbook.

1. I have no experience in casting, and don't want to make any more costly mistakes than necessary. This was a very informative book that has given me much more confidence and knowledge to start.
   It is the best book I have found so far for my needs, which is actually for casting miniature (1:20.3 scale) details for an outdoor train layout. However, the methods explained are very widespread, and would suit most needs, I would think.



2. This book gives great detail about most aspects of molding with good illustrations and step by step instruction that can be followed be a novice, covers various material used in the processes and describes the pro and cons of each.
   I think it would be usable in many projects beside prop building.



3. The most detailed, informative, and educational book for any prop builders in the industry. A "gotta have" book in your library...just EXCELLENT.



4. This book seems to have it all. There seems to be an endless supply of information and how to apply it (Which it strongly implies in the first few pages). There is even a section at the end that shows you how to make a vacuum-forming machine in good detail and for the least amount of cost and bulk. If you are even remotely interested in making props or want to duplicate items in your own pad, buy this book.



5. Real good.His teaching skills shine thru on every page.Very thorough coverage of everything from simple paper mache to building a vaccuum form machine and creating artificial biulding parts,breakaway glass,recycling old props and reusing polymerss time and time again.Excellent.

5 comments about Truth in Comedy: The Manual of Improvisation.

1. Even if you're not a "long-form" improviser, this book is a must read for anyone actively working in an improv group.



2. Any improviser worth his/her salt owns at least one copy. And can quote from it directly.



3. I began taking a long form (The Harold)improv class about a year ago. Halfway through my term, the instructor suggested a few books to read on the subject. After reading through the first few pages of this manual, it became clear to me that this was the class that I had been taking for over a year. Charna Halpern-with a fee quotes and exercises by the late, great Del Close-have put together an excellent "how to" book that any improviser, from beginning to proffessional would find etxremely helpful. For anyone interested in imrovisation this is the book for you!



4. I am taking improv classes at Second City and this book is directly aligned with their teachings. Many of the games presented are ones we have done in class. The rules are well explained and there are nice anecdotes and quotes from people like Chris Farley and George Wendt. The long form structure called the Harold is fully explored as well. A good book to start with in improv, although I liked Mick Napiers' book "Improvise" better for where I am personally. He takes another approach that side steps "The Rules". This book (and the beginner Second City courses) stress their importance, although the idea is that after you know the rules well enough it is OK to break them (!).



5. I am taking an Improv class in Dallas and this was a suggested book. It really helped us learn faster! They really know what they are talking about and I really enjoyed reading it then putting what I learned to the test at Improv class! I am really good now! hehe!