100 LESSONS IN CLASS BALLET
For the potential, as well as the professional, producer and for writers, actors, directors, and investors, this book is for anyone wanting or needing to understand the process of producing Off Broadway plays from start to finish. Written in crisp, clear, nonlegal language that the layman can easily understand, every page reflects the experience and expertise of Farber, a well-known and highly respected theatrical attorney. The book contains detailed information on how to: option a property, raise money, obtain a theater, deal with the cast and other personnel, the art of negotiation, partnerships and co-production agreements, and much more. Especially useful are the updated and expanded appendixes, which include all new budgets and actual examples of today's commonly used legal forms and contracts.
HAVE YOURSELF A MOVIE LITTLE CHRISTMAS: A GUIDE TO ALL THE SEASONS HOLIDAY FILMS
Written for readers who have a passion for Shakespeare, Shakespeare''s Wordcraft takes a comprehensive look at Shakespeare''s stellar use of language devices throughout his plays, devices he used to ink memorable lines like these:ΓÇó I must be cruel only to be kindΓÇó Fair is foul, and foul is fairΓÇó Once more unto the breach, dear friends, once more!ΓÇó Friends, Romans, countrymen, lend me your ears!In a clear, accessible, non-academic style - using plain terms, modern quotes, and several thousand examples - Shakespeare''s Wordcraft deftly reveals how these lasting lines were not accidental or coincidental, but designed and crafted by a master of the word.
HEAVEN AND HELL TO PLAY WITH
This lavishly-illustrated collection of writings on western movies covers close to a century of American cinematic achievement and includes almost a half-century of essays, commentary, and interviews. The history, mythology, and landscape of the western are skillfully explored.
In the 1930s the gangster film in the United States coincided with a very real and very sensational gangsterism at large in American society. ÊLittle CaesarÊ (1931) ÊThe Public EnemyÊ (1931) and ÊScarfaceÊ (1932) borrowed liberally from the newspapers and books of the era. With the release of just these three motion pictures in barely more than a year''s time Hollywood quintessentially defined the genre. The characters the situations and the icons ä from fast cars and tommy-guns to fancy fedoras and fancier molls ä established the audience expectations associated with the gangster film that remain in force to this day. As with their ÊFilm Noir ReaderÊ series using both reprints of seminal articles and new pieces editors Silver and Ursini have assembled a group of essays that presents an exhaustive overview of this still vital genre. Reprints of work by such well-known film historians as Robin Wood Andrew Sarris Carlos Clarens Paul Schrader and Stuart Kaminsky explore the evolution of the gangster film through the 1970s and ÊThe GodfatherÊ. Parts 2 and 3 comprise two dozen newer articles most of them written expressly for this volume by Ursini and Silver. These case studies and thematic analyses from ÊWhite HeatÊ to the remake of ÊScarfaceÊ to The Sopranos complete the anthology.
This 75th anniversary edition of the Theatre Yearbooks features a comprehensive and discerning look at the past. The highlights include an article by librettist Peter Stone on the evolution of the book of the musical over the last three-quarters of a century, a season-by-season listing of the 750 Best Plays, and rediscovered Al Hirschfeld drawings of some of the most memorable of those productions. It includes listings of all plays introduced on and off Broadway, award listings, vital statistics, editors'' choices of the ten Best Plays and excerpts from each. This edition includes: Three Tall Women ΓÇó Angels in America: Perestroika ΓÇó The Madness of George III ΓÇó Passion ΓÇó and more.
A fat lavishly illustrated run through of...50 Hollywood movies from the 1930s up to a few years after World War II...valuable and entertaining today not only as a social record but as sheer entertainment...âZinmanã begins with Mae West''s classic ÊShe Done Him WrongÊ and touches all the cinematic landmarks including ÊCasablanca Citizen KaneÊ and ÊGone with the WindÊ... äPublisher''s Weekly
Distinguished Metropolitan Opera basso Jerome Hines provides a wealth of information and advice for all those who have embarked on or plan to embark upon a serious singing career. From basic information on how the head and body combine to produce vocal sound, he goes on to analyze the "four voices" encompassed by the singer''s one voice, always explaining how through proper technique and training the voice can achieve its ultimate in power, grace and beauty. The book also guides the singer through the labyrinth of choosing the right teacher, shows how physical and emotional health and care of the body relate to the vocal apparatus and considers such diverse matters as stage fright, dealing with conductors and managers and that final challenge - facing the critics.
Half a century after its opening ÊThe Third ManÊ remains an unquestioned masterpiece of film artistry and for many the greatest British movie ever made. Whether it is Harry Lime''s magical first appearance or the celebrated cuckoo clock speech or the climactic chase through the sewers beneath Vienna or the haunting theme music of Anton Karas the film contains some of the most memorable moments in screen history. Drawing on both contemporary documents and accounts of the people involved ÊIn Search of The Third ManÊ explores the many myths that over the years have grown around this extraordinary film and seeks to unravel the facts from the fiction.ÞÞ ...you''ll want to read The Third Man...The story of the film''s creation is as intriguing as the film itself äLeonard Maltin Playboy
ÊDetours and Lost HighwaysÊ begins with the Orson Welles film ÊTouch of EvilÊ (1958) which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line noir''s rococo tombstone...the film after which noir could no longer be made or at least could no longer be made in the same way... It is my belief Hirsch writes that neo-noir does exist and that noir is entitled to full generic status. Over the past forty years since noir''s often-claimed expiration it has flourished under various labels. Among the movies he discusses as evidence: ÊChinatownÊ (1974) ÊBody HeatÊ (1981) John Woo''s Hong Kong blood-ballets (e.g. ÊThe KillerÊ 1989) and the pulpy oeuvre of Quentin Tarantino. ä ÊWashington Post Book WorldÊ
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