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Life as a Playwright: A Survival Guide

Jon Klein

Jon Klein is the head of the MFA Playwriting Program at Catholic University of America in Washington, D.C. and author of over 30 produced plays, performed Off-Broadway and at many prestigious regional theatres. He has also written several adaptations and his stage version of Stendhal’s classic novel The Red and the Black was produced at ACT Theatre, Seattle. He adapted T Bone N Weasel for a Turner Network film, starring Gregory Hines and Christopher Lloyd and for which received both the HBO Playwrights USA award and the Midwest Author’s award. His other plays include Losing It, Chance and Necessity and Dimly Perceived Threats to the System. He has been a Playwright-in-Residence at the American Repertory Theatre, Cambridge, and the Alliance Theatre, Atlanta and he has taught playwriting and screenwriting at UCLA, the University of Texas, the University of Washington, Ohio University, and Hollins University. Author affiliation details are correct at time of print publication.

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Methuen Drama, 2018

Short Guides and Biography

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...Addressing the questions central to any playwright's career and identity, Jon Klein offers you a glimpse into a career writing for the theatre. As well as an account of the day-to-day life of a writer, he also discusses what an aspiring...

The Stage Manager as Manager

Peter Maccoy

Peter Maccoy has been a professional theatre practitioner for over 25 years. He has worked as a stage manager for many theatre companies including The Mercury Theatre, Colchester, The National Theatre, the Chichester Festival, the Peter Hall Company, the Almeida and MuLan Theatre Company. He has taught at Central School of Speech and Drama since 1993. His Essentials of Stage Management was published by Methuen Drama in 2004. Author affiliation details are correct at time of print publication.

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Essentials of Stage Management

A & C Black Ltd, 2004

Books

...Manager! There is a word that strikes fear into the heart of stage managers everywhere, yet it forms 50% of the job title. Of course that is exactly what stage managers are – managers: managers of people, managers of places, managers...

Contemporary Practice

Peter Maccoy

Peter Maccoy has been a professional theatre practitioner for over 25 years. He has worked as a stage manager for many theatre companies including The Mercury Theatre, Colchester, The National Theatre, the Chichester Festival, the Peter Hall Company, the Almeida and MuLan Theatre Company. He has taught at Central School of Speech and Drama since 1993. His Essentials of Stage Management was published by Methuen Drama in 2004. Author affiliation details are correct at time of print publication.

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Essentials of Stage Management

A & C Black Ltd, 2004

Books

...The core job of the stage manager has not changed radically over the last 60 or so years. The stage manager today must still be a motivated, well-organised and creative individual, able to communicate effectively with everyone involved...
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...Summer 1914. In order to dedicate themselves to a life of study, the King and his friends take an oath to avoid the company of women for three years. No sooner have they made their idealistic pledge than the Princess of France and her...

SNAPSHOT #17

Encountering Ensemble

Bloomsbury Methuen Drama, 2013

Books

...I believe that I was an ensemble actor from the very beginning, by instinct, not philosophy. At the age of 12 how could it be otherwise, I had never heard the term. What I discovered in my first play with grown-ups was that I loved...

Theatre and Therapy: ‘Care’, ‘Cure’, or Illusion?

Theatre and Cognitive Neuroscience

Bloomsbury Methuen Drama, 2016

Books

...Asking questions about ‘the theatre which heals’ requires us first of all to clarify several points:What theatre are we talking about? In what culture? What society?What relationship to the theatre is under discussion: dramatic...

‘Give Me Excess of It’

Bridget Escolme

Bridget Escolme is Senior Lecturer in Drama at Queen Mary College, University of London, and a leading figure in the study of early modern drama in performance. She researches and teaches historical theatre and its contemporary production, particularly early modern drama and the ways in which original and current staging practices produce space and subjectivity. She has published with CUP and Routledge in the past. Author affiliation details are correct at time of print publication.

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Emotional Excess on the Shakespearean Stage: Passion’s Slaves

Bloomsbury Arden Shakespeare, 2014

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...When Menas suggests that every man wants his wife holy, cold and still of conversation, Enobarbus demurs, figuring Antony, and by implication Cleopatra, as worldly, hot and shifting in comparison to Caesar’s obedient and self-sacrificing...
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...Autumn 1918. A group of soldiers returns from the trenches. The world weary Benedick and his friend Claudio find themselves reacquainted with Beatrice and Hero. As memories of conflict give way to a life of parties and masked balls, Claudio...

Can We Be the (New) Third World?

Performance Studies in Motion : International Perspectives and Practices in the Twenty-First Century

Bloomsbury Methuen Drama, 2014

Books

...I sit here this morning (does it really matter which morning?) trying to be optimistic. I want to write how performance studies and the performing arts can save the world, or at least help to save the world. I am typing while rockets...

Drama – the apparently incomplete text

Michelene Wandor

Michelene Wandor is a playwright who in 1987 was the first woman playwright to have a drama on one of the National Theatre’s main stages – ‘The Wandering Jew’. Her prolific radio drama includes original radio plays and dramatisations, many nominated for awards. Her books on contemporary theatre include Postwar British Drama: Looking Back in Gender. Author affiliation details are correct at time of print publication.

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The Art of Writing Drama

Bloomsbury Methuen Drama, 2008

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...There is, wrote Raymond Williams, a ‘confusion, both theoretical and practical, in our contemporary understanding of the relation between a dramatic text and a dramatic performance . . .’...