A companion guide to one of the bestselling Limelight Edition titles this book by Asaf Messerer a founder of what has become known as the Bolshoi School is one of the most celebrated manuals of classic dance instruction in the world. Messerer has gained an international reputation for his classes in classical technique-models of invention and well-rounded exercise stressing both precision and fluid artistic control. Nearly 500 photographs of principal Bolshoi dancers illustrate the positions and steps indicated and an introductory section by Messerer outlines his basic plan and philosophy of teaching.
100 LESSONS IN CLASS BALLET
Matt Wolf''s book chronicles ten amazing years for the Donmar and for Mendes combining accounts of numerous productions and extensive interviews with Mendes himself and more than sixty Donmar alumni: Sondheim Nicole Kidman Gwyneth Paltrow Alan Cumming Helen Mirren Stephen Dillane and Jennifer Ehle to name but a few. This celebration of the Donmar''s tenth anniversary is full of candid conversation analyses of its successes as well as its failures and trenchant behind-the-scenes reporting. It is also the Donmar''s farewell to Sam Mendes who is leaving the theatre to pursue other opportunities on the stage and screen. As director of ÊAmerican BeautyÊ for which he won an Academy Award and ÊRoad to PerditionÊ his future is as bright as his past.
A critic and writer on dance for well over twenty years, Barbara Newman has gone in search of teachers and coaches, directors, choreographers and stagers - former dancers who had turned the focus of their own experience on others - to explain the state of ballet today. Among leaders of the dance world the author interviewed were Suki Schorer, Helgi Tomasson, Mark Morris, Violette Verdy and 14 other artists whose work she knew and respected, most of them active outside of New York and London. Newman is not interested in dance as an aesthetic abstraction, and the people who answered her questions were not speaking theoretically. On the contrary, her speculation and their responses bring an elusive subject down to earth, illuminating a process that reaches back in history and forward to today, though its dreams are of a world no one can imagine.
The luminous star of ÊMr. Smith Goes to Washington ShaneÊ and other classic films was as the subtitle aptly puts it the actress nobody knew. Jean Arthur (1900-91) kept her personal life private disdained the Hollywood publicity machine and was called difficult because of her perfectionism and remoteness from costars on the movie set. John Oller a lawyer tracked down kinsfolk and friends never before interviewed to capture the elusive personality of a free spirit best embodied in her favorite role Peter Pan. Arthur herself might have appreciated his warm respectful portrait. ...âAnã insightful painstakingly researched analysis of Arthur''s life and career raises the curtain on the complex conflicted person behind the screen persona...Captures the special shine of a unique star who turned out to be a genuine eccentric. ä ÊChicago TribuneÊ
...the definitive life. I don''t think it will ever be superseded ... It is scholarly yet readable the fullest most objective and factually detailed book on virtually every aspect of Buster''s career and personality: artistic financial and pyschological ... full of the most interesting (and surprising) information. ä Dwight MacDonald The New York Review of BooksÞÞ A candid yet compassionate account of Keaton''s turbulent personal life...reveals the roots of his humanity ... his pessimism ... âhisã superb spirit of comic gloom ... ä Boston Globe
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.
While some of the thirty-two speeches included here - those from Hamlet, Henry V and As You Like It, for example - are well known and favorites for audition purposes, most are less familiar and so provide challenging new opportunities for an actor to grow. The author, a producer, director and teacher for more than 40 years, carefully analyzes the meaning of each monologue as a whole and various sentences and phrases within it. He goes on to explain point by point everything the actor needs to know about that moment in the play when the monologue is delivered. In her foreword, Joan Plowright extols, "...he''s done an excellent job of de-mystifying Shakespeare in his book...No actor attempting his first Shakespearean role (or even his second) should be without it."
"Michael Pennington...is sharply intelligent, scrupulously careful, hugely knowledgeable and, above all, wonderfully readable." -The Shakespeare Institute
"The story of Prince''s career is inseparable from the history of the American musical theatre for the past 40 years...In-depth accounts of musicals Fiddler on the Roof, West Side Story, Cabaret, Company, and Sweeney Todd will be of interest to any musical theatre buff." - American Theatre
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
The exhilarating mix of humor, philosophy, fact and whimsy that marks these essays derives from more than 200 lectures Bruce Adolphe has given over most of the past decade, at the Chamber Music Society of Lincoln Center and at music festivals around the country. The composer of four operas as well as chamber music, concertos and orchestral works, Adolphe has written for Itzhak Perlman, David Shifrin, Beaux Arts Trio, the Orpheus Chamber Orchestra and many other renowned musicians. His essays, however divergent their apparent subjects, all serve a common purpose: to deepen our understanding of how music comes to be and how it may be enjoyed.
Looking back on a century that witnessed the emergence of motion pictures to become, almost immediately, a dominant cultural force in our lives, this penetrating and provocative book argues that "movies (like cathedrals) cannot help but display the subconscious impulses oftheir society." From D.W. Griffith to the Marx Brothers to film noir, "what are conceived and consumed as innocent pop movies ... are in fact manifestations of wild horror, superstitious ignorance, fatalistic dread and bigoted savagery."
This collection of hilarious plays from the 15th - 20th centuries is brimming with all the venerable ingredients of French farce. Distinguished drama scholar Bermel has gathered some of the best in the genre, and the merriment, ribaldry, and wit of the works dance through his translations brilliantly.
Sam Peckinpah is by his own admission and that of almost everyone else in this richly entertaining book a director who needs adversity to get the juices flowing. As shooting goes on complications multiply and tensions increase. The wild man fortified by booze and shots of vitamin B12 rides the whirlwind he creates firing the incompetents beneath him baiting the ones over him and bullying and testing and goading the rest...âThis book givesã a nuts and bolts account of the...complex interplay of power and art or movie and myth-making as practiced by an idiosyncratic but skillfull manipulator. ä ÊNew York TimesÊ Book Review
The Third and most recent edition of The Vampire Film featuring a new chapter, "The Vampire at the Millennium " was released in October 1996 to coincide with the centennial of Stoker''s novel Dracula. More vampire films have been produced since the First Edition of The Vampire Film appeared in 1974 than in the entire history of motion pictures prior to that year. The first completely revised and updated edition was published in 1993. The Third Edition insures that what began as the first book-length study of the subject in 1974 remains the most comprehensive available.
This is the bittersweet life story of a beloved bandleader who rose to fame and fortune, then spent the last 20 years of his life working to pay $1.6 million in back taxes. Written with Troup, jazz critic for New York Newsday, the book is a straightforward account of a successful career gone awry because of bad business judgment and misplaced trust. Long passages in which friends and band members reminisce about Herman add another dimension, for he was a humorous and compassionate man who helped a great number of musicians in their careers. - Publishers Weekly
"...his economical writing style ... manages to pack lots of information - and opinion - into a few carefully chosen words ... Besides detail work well-grounded in scholarship...the author isn''t afraid to interpolate such generalizations and speculations as he sees fit; he may be the Stephen Hawking of jazz criticism." - Bob Tarte, The Beat
"Reading like a who''s who of Broadway and Hollywood...âthisã is a valuable piece of theatrical history...Lloyd is a self-effacing, articulate actor-director-producer whose stories are as insightful as they are warm and often humorous." -Choice
Written between the late '30s and the early '90s, these pieces by John Cage here acquire the permanence they deserve. Some have never been published before. Many appeared only in magazines, journals, and catalogues; others in concert programs and on record covers. Also included are the texts of lectures and - of crucial importance to the appreciation of his music - Cage's notes on the performance of his compositions, courtesy of his music publisher, C.F. Peters.
Screenplay to John Lahr''s successful dramatization of The Orton Diaries that chronicles the last eight months of Joe Orton''s life, his growing theatrical celebrity, and the corresponding punishing effect it had on his relationship with his friend and mentor Kenneth Halliwell, who murdered him on August 9, 1967, and then took his own life.
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