Inmagic db/textworks report

NEW RESOURCES
Antony Tudor Ballet Trust
Antony Tudor centennial -- [United States] Antony Tudor Ballet Trust, 2010.
A largely photographic record of the centennial celebration, which does, however, include a list of attendees and the programme. The 'Remembrances' section (p.51-133) is a collection of anecdotes and tributes from many people who knew and/or worked with Tudor. There is a companion DVD which recorded the events of March 29-30, 2008, including opening remarks, workshop classes, panel discussions, studio performances, and remembrances. [See 792.82092 ANT in the Audiovisual Collection.] Cast out : queer lives in theatre -- Ann Arbor, MI: University of Michigan Press, 2006.
"A collection of memoirs and interviews by twenty-two leading performers, playwrights, technicians, producers, critics, educators, and passionate spectators. The book offers a backstage pass to the personal and creative lives of some of the most important and influential theatre artists of the past fifty years: Edward Albee discusses the homophobic critical attacks he endured in the 50s and 60s; Cherry Jones talks about the first time she accepted a Tony Award-and her decision, in that moment, to come out; Peggy Shaw speaks of the drag queen who first inspired her stage career; Craig Lucas issues an impassioned call for theatre practitioners and other artists to unite for the sake of art, creativity, and social change. Also included are memoirs by and interviews with Kate Bornstein, Lisa Kron, Tim Miller, and George C. Wolfe, among others. These diverse voices dispel the cliche of theatre as a "safe haven" and replace the stereotype with a nuanced group portrait of the ways in which theatre and queerness intersect." -- Back cover.
Fairchild's dictionary of textiles -- New York: Fairchild Publications, 1996.
Scope of the terms included in the dictionary:Textile fibres: Sources - Natural (animal, vegetable, mineral); Manufactured (regenerated from natural materials, synthesised from chemicals); Technology related to - harvesting and processing of natural fibres; regeneration and/or synthesis and processing of manufactured fibresYarns: types; manufacture, texturing; dyeing and finishingFabric construction: weaving; knitting; nonwoven processes; other fabric forming processesDyeing and finishing of fabrics: dyeing and printing; finishes to enhance appearance of functionTextile fabrics: woven; knitted; nonwoven; laces, crochet, embroidery; carpets and rugs; thread, rope and cordageOther: acronyms and abbreviations; business and trade terms; inventors/developers of textile technology; legislation and regulations affecting textile materials and processing; trade and professional associations; some scientific and statistical terms that are frequently found in textile literature. -- Preface.
The Routledge drama anthology and sourcebook : from modernism to contemporary
performance -- Abingdon: Routledge, 2010.
"The Routledge Drama Anthology and Sourcebook is a groundbreaking compilation of the key movements in the history of modern theatre, from the late nineteenth century to contemporary performance practice.
Each of the book’s five sections comprises a selection of plays and performance texts that define their period, reproduced in full and accompanied by key theoretical writings of performers and critics that inform and contextualise their reading. Substantial introductions from experts in the field also provide these sections with an overview of the works and their significance.
The works span: naturalism and symbolism; the historical avant-garde; early political theatre; the performance of ideology; contemporary performance. This textbook provides an unprecedented collection of comprehensive resource materials which will facilitate in-depth critical analysis." -- Back cover. Plays and performance texts by: Zola, Strindberg; Chekhov; Ibsen; Maeterlinck; Jarry; Apollinaire; Artaud; Kokoschka; Boccioni; Marinetti; Hausmann; Garcia Lorca; Hamilton; St. John; Toller; Gow; Greenwood; Flanagan; MacColl; Baldwin; McGrath; Fornes; Churchill; Ravenhill; Anderson; Lepage; Bressard; Etchells; SuAndi; Gomez Pena.
Taking the matter into common hands : [on contemporary art and collaborative practices] --
London: Black Dog Publishing, 2007.
"In recent years the art world has shown a renewed interest in collective work and activity. Collaborations between artists and curators, artists and outside professionals and artists and other artists have become increasingly common, and have raised some pertinent questions regarding authorship and authority. "Taking the matter into common hands" is a collection of essays by some of the leading voices in the field of collaborative art practice. Focusing on working conditions for artists and on collaborative initiatives with activism at their heart, the writing takes a personal, interpretive view of the subject." -- Back cover.
Berry, Mick; Edelstein, Michael R
Stage fright : 40 stars tell you how they beat America's #1 fear -- Tucson, AZ: See Sharp
"Interviews with forty highly accomplished public figures. [who] speak candidly about their trials with stage fright and reveal the various paths they followed in overcoming it. Stage fright sufferers. will find tried and true techniques that will help them shed their inhibitions." -- Back cover.
Blackman, Cally
100 years of menswear -- London: Laurence King, 2009.
"A rich, comprehensive collection of images covering the revolution in menswear over the last 100 years. Rare photography and illustrations reveal the elegant tailoring of Savile Row and the tough khaki and denim of uniforms and workplaces giving way to an exuberant array of styles and colours as the century progresses. Packed with images of Hollywood style icons, the artist personalities of the 1930s, and more, this unique book explores the evolution of menswear from practical to peacock through a wealth of stunning pictures. The impact of Pierre Cardin, Giorgio Armani, Ralph Lauren, and other designers is contrasted with the street fashion of the 1960s, punk, and the club scene to bring together the story of the flourishing menswear market" -- Back cover.
Booth, Wayne C; Colomb, Gregory G; Williams, Joseph M
The craft of research -- Chicago, IL; London: University of Chicago Press, 2008.
"Reflects the way researchers actually work: in a complex circuit of thinking, writing, revising, and rethinking. Each part of this process. influences the others. A successful research report is, in fact, an orchestrated conversation between a researcher and a reader. Explains how to build an argument that motivates readers to accept a claim; how to anticipate the reservations of readers and to respond to them appropriately; and how to create introductions and conclusions that answer that most demanding question, "So what?" -- Book jacket.
Calasibetta, Charlotte Mankey; Tortora, Phyllis G
The Fairchild dictionary of fashion -- New York: Fairchild Publications, 2003.
"Defines more than 15,000 fashion terms, including apparel, accessories, and their components; historical and textile terms that relate to contemporary fashion; and the language of the fashion business. Its organization of 51 broad categories, such as activewear, blouses and tops, clothing, construction details, footwear, headwear, jewellery, laces, necklines, shirts, skirts, and waistlines, promotes comprehension of related terms. Categories are fully cross-referenced to the alphabetical listing. Includes terms not readily found in ordinary dictionaries and pronunciation guides for foreign words. An appendix of designers is updated to include emerging leaders. Lavish new illustrations by Bina Abling enhance definitions, capturing both the details and style of fashion. Labelled anatomical drawings show how the parts of fashion items fit together." -- Back cover. "One of the strengths of the dictionary has been the organisation of entries into categories. A reader who is interested in a definition of a 'peg-top skirt', for example will find that definition in the 'Skirts' category and can compare that definition with those for other types of skirts. Illustrations of a variety of skirt types also appear with the category, allowing for visual comparisons. Should readers not know the category into which an item fits, they can consult the alphabetical listing, where a cross-reference will direct them to the appropriate location." -- Preface.
Carrier, David
Artwriting -- Amherst, MA: University of Massachusetts Press, 1987.
"Artwriting is concerned with texts of recent art critics. The analysis draws on Arthur Danto's theory of interpretation and upon three connected conceptual points: the need to properly identify an artwork; the possibility of conflicting interpretations; and the use of rhetoric in interpretation." -- Overture Cumming, Valerie; Cunnington, C. Willett; Cunnington, Phillis
The dictionary of fashion history -- Oxford: Berg, 2010.
'A dictionary of English costume' by C. Willett Cunnington, Phillis Cunnington and Charles Beard was originally published in 1960. A monumental achievement and encyclopaedic in scope, it was a comprehensive catalogue of fashion terms from the mid-medieval period up to 1900. It was reissued and updated several times, for the last time in 1976. For decades it has served as a bible for costume historians. 'The dictionary of fashion history' completely updates and supplements the Cunningtons' landmark work to bring it up to the present day. Featuring additional terms and revised definitions, this new edition represents an essential reference for costume historians, students of fashion history, or anyone involved in creating period costume for the theatre, film or television. It is also fascinating reading for those simply interested in the subject. Clear, concise, and meticulous in detail, this essential reference answers countless questions relating to the history of dress and adornment and promises to be a definitive guide for generations to come. -- Back cover. Includes a glossary of fibres, fabrics, materials; laces; obsolete colour names.
Gilbert, Ian
Why do I need a teacher when I’ve got Google? : the essential guide to the big issues for
every twenty-first century teacher -- London: Routledge, 2011.
"This book is not designed to help you teach better. But it is intended to help you become a better teacher. It consists of a series of discrete chapters addressing what I consider to be some of the most important questions and controversies, insights and innovations in the world of education today. The sorts of things that all teachers should know about, but for all sorts of reasons, so few do. You can read it cover to cover if you like or you can dip into it and learn about, reflect on, assimilate, experiment with or even reject what I am suggesting. It's not a series of 'cut out and do' exercises, rather it is designed to make you think. And then do." -- Introduction Goffee, Rob; Jones, Gareth
Why should anyone be led by you? : what it takes to be an authentic leader -- Boston, MA:
Harvard Business School Press, 2006.
"Rob Goffee and Gareth Jones draw from more than twenty-five years of research, consulting work, and firsthand leadership experience to offer a convincing argument for the merits of authentic leadership, and practical advice for how leaders at all levels can achieve it. The book shows how great leaders essentially act as "authentic chameleons": consistently displaying their true selves throughout the changes of contexts that require them to play a variety of roles. Authentic leaders also constantly nurture their relationship with followers by skilfully balancing the inherent tensions of the leadership role: highlighting their strengths while revealing human weaknesses, maintaining their individuality while conforming enough to hold the organisation together, and establishing intimacy with followers while keeping enough distance to command respect."-- Book jacket.
Hingorani, Dominic
British Asian theatre : dramaturgy, process and performance -- Basingstoke: Palgrave
"Explores the creativity, innovation and diversity of major British Asian theatre companies. Including coverage of Tara Arts, Tamasha and Kali theatre companies, as well as important writers such as Hanif Kureishi and Gurpreet Kaur Bhatti, the book analyses the dramaturgy, cultural and political contexts and critical receptions that have informed major productions. Complete with plot summaries and illustrated throughout, the text explores the extraordinary contribution that British Asian theatre has made to the British stage over the past 30 years." -- Back cover.
Homans, Jennifer
Apollo's angels : a history of ballet -- New York: Random House, 2010.
"For more than four hundred years, the art of ballet has stood at the centre of Western civilisation. Its traditions serve as a record of our past. A ballerina dancing 'The sleeping beauty' today is a link in a long chain of dancers stretching back to sixteenth-century Italy and France: her graceful movements recall a lost world of courts, kings, and aristocracy, but her steps are also marked by the dramatic changes in dance and culture that followed. Ballet has been shaped by the Renaissance and Classicism, the Enlightenment and Romanticism, Bolshevism, Modernism, and the Cold War. Ballet is unique. It has no written texts or standardised notation. It is a storytelling art passed on from teacher to student. .And while ballet's language is shared by dancers everywhere, its artists have developed distinct national styles. French, Italian, Danish, Russian, English, and American traditions each have their own expression, often formed in response to political and societal upheavals. From ballet’s origins in the Renaissance and the codification of its basic steps and positions under France’s Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. In the twentieth century, emigre dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation." -- Book jacket.
Kester, Grant H
Conversation pieces : community and communication in modern art -- Berkeley, CA:
University of California Press, 2004.
"There are. a number of contemporary artists and art collectives that have defined their practice around the facilitation of dialogue among diverse communities. Parting from the traditions of object making, these artists have adopted a performative, process-based approach. They are "context providers" rather than "content providers". whose work involves the creative orchestration of collaborative encounters and conversations, well beyond the institutional confines of the gallery or museum. When contemporary critics confront dialogical projects, they often apply a formal, pleasure-based methodology that cannot value, or even recognise, the communicative interactions that these artists find so important. My goal here is to understand this work as a specific form of art practice with its own characteristics and effects, related to, but also different from, other forms of art and other forms of activism as well." -- Introduction "Discusses a disparate network of artists and collectives - including The Art of Change, Helen and Newton Harrison, Littoral, Suzanne Lacy, Stephen Willats, and WochenKlausur - united by a desire to create understanding through creative dialogue that crosses boundaries of race, religion, and culture." -- Back cover.
Landau, Neil; Frederick, Matthew
101 things I learned in film school -- New York: Grand Central Publishing, 2010.
"101 concise lessons on every aspect of filmmaking: scriptwriting; financing; casting; production; special effects; publicity; distribution; copyrights and other legal concerns. Each two page lesson is illustrated and illuminates an important industry topic - using humour, statistics, or real life examples to drive the point home." -- Back cover. Variant Title: One hundred one things I learned in film school. <http://www.101thingsilearned.com/> Lloyd, Carol
Creating a life worth living : a practical course in career design for aspiring writers, artists,
filmmakers, musicians and others who want to make a living from their creative work --
New York: HarperPerennial, 1997.
"A practical, inspiring, and irreverent crash course in career survival. In her twelve week programme Carol Lloyd guides you through the process of birthing your vision and then helps you rigorously invent the means to support your long term dreams. Each chapter provides a week's worth of concrete tasks - writing exercises, artistic assignments, experiments with new habits, thought games, and more - to help you generate and flesh out ideas; develop strong healthy work habits; and map a path to your ideal creative life." -- Back cover. Includes interviews with David Lloyd; The Monk Brothers; Eric McDougall; Mary Gaitskill; Michael Lehmann; Raz Kennedy; Lyn Gordon; Loretta Staples; Chris Wink; Jonathan Lethem; Bill Rauch; Meredith Monk. Includes profiles on Dennis Dun; Keith Johnstone; Sara Shelton Mann; Adam Beckman; Sallie Tisdale; Dan Perkins; R.J. Cutler; Ariel Gore; Margaret Jenkins; Beth Custer; Adlai Alexander; Joe Goode.
Lord, Peter; Sibley, Brian
Cracking animation : [the Aardman book of 3-D animation] -- New York: Thames & Hudson,
"The first part of this book, written by Brian Sibley, sets Aardman's achievements and the history of the studio into the tradition of 3-D animation, which spans such Hollywood triumphs as 'King Kong' and 'Jason and the Argonauts', as well as such well-known characters as Godzilla. At the heart of the book is an indispensable guide by Peter Lord, co-founder of Aardman, to the process of 3-D animation, culminating in a practical, fully illustrated step-by-step description of how to create effective characters, animate them convincingly, create a storyboard and sets, and then a complete film. This new and updated edition includes an entirely new chapter on CGI, and the text has been revised throughout to reflect recent technological advances and to explore the ways in which new media use animation." -- Back cover.
McNiff, Shaun
Trust the process : an artist's guide to letting go -- Boston, MA: Shambhala, 1998.
Shaun McNiff offers ways of exercising the creative spirit with different art forms including painting, sculpture, and performance art. -- Publisher's description.
Metzger, Mary Janell
Shakespeare without fear : teaching for understanding -- Portsmouth, NH: Heinemann, 2004.
"Offers methods that will get students emotionally and imaginatively involved with the plays while developing their capacity for critical judgement. First debunks the idolatry and polarising academic politics surrounding the study of Shakespeare and then. [sets] up the plays as engaging historical works instead of items to check off a cultural literacy list. Next Metzger takes you into real classrooms for a complete look at how she and other educators teach several major works, including 'Romeo and Juliet' and 'Hamlet', offering both a framework for teaching any Shakespearean drama and play-specific essential questions for ten of his other most popular plays." -- Back cover.
Moody, James L; Dexter, Paul
Concert lighting : techniques, art and business -- Burlington, MA: Focal Press, 2010.
"With a special focus on rock and roll, learn how to use computer-aided drafting and moving luminaires, learn about the people and the history that shaped the field, and much more. Expand your design possibilities by learning about cross-media use of concert lighting techniques and their application in film, video, theatre and the corporate world." -- Back cover. "This is not a textbook as much as it is a history lesson and a discussion by experts and practitioners of their craft who tell stories of their experiences. Sure, you will also find explanations of the equipment and high tech gadgets that the industry has grown to love. I am a big believer that we learn more from history and listening to people who have survived the gruelling road life to tell the reader what was tough, hard work but amazingly fun." -- Preface.
Pearson, Mike
Site-specific performance -- Basingstoke: Palgrave Macmillan, 2010.
"Site-specific performance – acts of theatre and performative events at landscape locations, in village streets, in urban situations. In houses, chapels, barns, disused factories, railway stations; on hillsides, in forest clearings, under water. At the scale of civil engineering; as intimate as a guided walk.
Leading theatre artist and scholar Mike Pearson draws on thirty years of practical experience, proposing original approaches to the creation and study of performance outside the auditorium. In this book he suggests organising principles, innovative strategies, methods and exercises for making theatre in a variety of contexts and locations. Through examples, case studies and projects, he develops distinctive theoretical insights into the relationship of site and performance, scenario and scenography. [This book] encourages practical initiatives in the conception, devising and staging of performances, while also recommending effective models for its critical appreciation." -- Back cover.
Priebe, Ken A
The advanced art of stop motion animation -- Boston, MA: Cengage Learning, 2011.
"Helps experienced stop motion artists enhance their craft by exploring the professional methods and advanced technology used by top film studios today. This book features expanded coverage of the basic principles of animation, including specific applications for character performance and visual effect compositing techniques. [Includes] detailed information on camera rigs, effects, and shooting stop motion in stereoscopic 3D. new puppet building techniques, including the technology behind the rapid prototyping of computer models for stop-motion production. [and] a thorough history of early feature length stop motion films. The practical techniques and skills presented are enhanced by interviews with many of the most celebrated stop motion artists as well as coverage of the work of several artists working in the online stop motion community." -- Back cover. Included on the CD-ROM: QuickTime animation clips for studying animation principles, dialogue, and compositing; appendices with content, web links and pictures on stop motion education and stop motion animation community.
Takeda, Sharon Sadako; Spilker, Kaye Durland; Chrisman-Campbell, Kimberly
Fashioning fashion : European dress in detail, 1700-1915 -- Los Angeles, CA; New York: Los
Angeles County Museum of Art; Prestel, 2010.
"The creation of eighteenth and nineteenth century fashion moved at a much slower tempo than the lightning speed pace of contemporary fashion, so great attention was paid to the smallest details. [This book] celebrates these and brilliantly examines the transformation of the fashionable silhouette over this span of more than two centuries. Lavish photos and illustrative text provide historical context, showing how technical inventions, political events, and global trade often profoundly affected style. [The book] showcases nearly two hundred highlights from the Los Angeles County Museum of Art's new European collection of rare pieces of historic fashion and accessories for men, women and children. LACMA recently acquired this singular collection, which numbers more than one thousand objects and represents a total of fifty years of acquisitions by prominent historic dress dealers and collectors Martin Kamer of England and Wolfgang Ruf of Switzerland. The pieces were chosen for their roles in the story of fashion's aesthetic and technical development from the Age of Enlightenment to World War I." -- Book jacket. Published in conjunction with an exhibition held at the Los Angeles County Museum of Art, October 2, 2010-March 6, 2011.
Tortora, Phyllis G; Eubank, Keith
Survey of historic costume : a history of Western dress -- New York: Fairchild Publications,
"Presents a thorough overview of Western dress from the ancient world to the trends of today. Each chapter presents a chronology of significant dates and events for the time period discussed, along with the social, cross-cultural, environmental, geographic, and artistic influences on clothing. Changes in the production of clothing - from hand made to high tech - are also detailed." -- Back cover.
Journal articles
Commonwealth Games live audio : Australia's Norwest delivers despite tough conditions --
In: CX. n.56, Dec 2010/Jan 2011 : p.34-37 Backgrounds the organisational difficulties that Norwest Productions had to overcome in managing sound for the opening and closing ceremonies at the 2010 Commonwealth Games in Delhi, India. Outlines major elements of the sound design and lists equipment and crew.
Ludus Dance -- In: Animated. Win 2011 : p.10-16
On the occasion of its thirty-fifth anniversary, four former members of Ludus Dance reflect on their early experiences with the company and its influence both personally and on their professional development. Venue manager and academic Matt Fenton discusses how the company's most recent show 'Consequences' demonstrates its continuing development and innovation. A sidebar lists key events in the company's history. <http://www.ludusdance.org/> Barber, Damien; Walker, Bobak
Time gentlemen please : featuring the Demon Barber Roadshow -- In: Animated. Win 2011 :
Damien Barber, the producer, artistic director and a performer from The Demon Barbers, and choreographer and performer Bobak Walker each give their perspective on collaborating to make 'Time, gentlemen please', which fused traditional English dance and hip hop. Both writers reflect on the surprising similarities between the genres, and on the positive spin-offs for both from the association. <http://www.thedemonbarbers.co.uk/> Charnley, Eluned
Towards a new vision of dance -- In: Animated. Win 2011 : p.25-27
Backgrounds the accepted stereotype of the professional dancer. Argues that the provision of more training opportunities for physically disabled dancers would open the dance world to greater diversity and provide choreographers with opportunities for innovation. Outlines some of the existing routes to professional-level training for disabled dancers in England.
Coleman, Brian
Jazz in the vines, 2010 -- In: CX. n.56, Dec 2010/Jan 2011 : p.38-41
Explains the technical hitches that compromised sound quality at the Hunter Valley's annual music festival. A mix of analogue and digital consoles, lack of communication between the acts' sound designers and the festival technicians, and short staffing all contributed to poor sound quality at the event.
Craddock, Lisa; Willmore, Catherine
The new national occupational standards for dance leadership : what do these mean for
you? -- In: Animated. Win 2011 : p.33-34
A series of questions and answers about the National Occupational Standards (NOS) developed in Britain by the Dance Training Accrediation Partnership (DTAP) and Cultural & Creative Skills. Explains how the NOS were developed and how they will work in practice.
Cuming, Richard
A personal view of the works of Complicite -- In: Total theatre. v.22, n.4, Win 2010 : p.20-23
Reviews the evolution of theatre company Complicite since their first show in 1983. <http://www.complicite.org> Dixon, Mike
Raymond Gubbay -- In: Dance Europe. n.147, Jan 2011 : p.31
Briefly interviews the impresario about his success in promoting performance events in the UK. Asks about his association with the English National Ballet and, more recently, the Royal Ballet.
Edward, Mark
More hip op than hip hop : temporality of the dancing body -- In: Animated. Win 2011 : p.22-24
Discusses ageist attitudes in the dance world. Argues that experience should be more valued.
Foyer, Maggie
Directors' choice -- In: Dance Europe. n.147, Jan 2011 : p.48-49
Artistic directors (mostly from smaller dance companies) discuss what they look for when auditioning for company members, commenting on the role of "feeder schools", authenticity, work ethic, body shape and personality. The directors are: Igor Zelensky (Novosibirsk Company), Nina Ananiashvili (Ballet Company of Tblisi), Madeleine Onne (Hong Kong Ballet), Kenneth Greve (Finnish National Ballet), and Eric Gauthier (Gauthier Dance).
Foyer, Maggie
Prince, 'The nutcracker', Act II -- In: Dance Europe. n.147, Jan 2011 : p.40-41, 43
Interviews repetiteur Maina Gielgud about Wayne Eagling's take on the Prince's variation in Act II of 'The nutcracker'. Dancer Vadim Muntagirov discusses the particular challenges for him. A sidebar backgrounds the well-known ballet and Wayne Eagling's version of it for English National Ballet.
Foyer, Maggie
Sasha Mukhamedov -- In: Dance Europe. n.147, Jan 2011 : p.26-27
Briefly interviews the young ballerina, now dancing with the Dutch National Ballet, about her career.
Gamo, Jesus, R
Elias Aguirre + Alvaro Esteban -- In: Dance Europe. n.147, Jan 2011 : p.18-19
The two Spanish choreographers and dancers talk about the success of their collaborative work 'Entomo' in 2010.
Glover, Gavin
Flogging a dead horse -- In: Total theatre. v.22, n.4, Win 2010 : p.6-8
Gavin Glover of Faulty Optic writes about the creative process for the company's most recent show 'Flogging a dead horse'. While puppets have been the central focus of their other shows, in this they explored what could happen when the actor shared the space - along with videos and camera work. <http://www.faultyoptic.co.uk/> Gordon, Viv
One Step Forward -- In: Animated. Win 2011 : p.17-18
The director of Mean Feet Dance describes the development of One Step Forward, a programme of creative dance intended to build self-confidence, communication and social skills amongst people with mental health issues - but in an incidental way, so that the development of these skills is not seen as the primary reason for participation. <http://www.meanfeetdance.co.uk/> Grafton, Julius
Metallica : World magnetic -- In: CX. n.56, Dec 2010/Jan 2011 : p.46-49
Describes key production elements in Metallica's 'World magnetic' touring show. Comments on the pyrotechnics, staging in the round, use of lighting without video, and the sound design and equipment.
Hylton, Robert
Skills n Drills -- In: Animated. Win 2011 : p.35-37
Explains the purpose and content of Skills n Drills, an intensive workshop for professional hip hop artists held annually in England. Emphasises the value of knowing the "back story" to the development of different styles and importance of musicality, elements which can be lost in the proliferation of poor examples of the genre on the Internet.
Linsell, Helen; Nicholson, Lucy
Finding the balance -- In: Animated. Win 2011 : p.31-32
In reflecting on their project Dance For All (DFA) in the disadvantaged communities of Cape Town, the authors compare dance teaching practice in South Africa and Britain, looking at the strengths of each approach, and how using these together can benefit their own teaching.
Manning, Emma
Guillaume Cote -- In: Dance Europe. n.147, Jan 2011 : p.13-15, 17
Interviews Canadian dancer (and part-time composer) Guillaume Cote, who is guesting at England's Royal Ballet in Ashton's 'Cinderella'. Includes a sidebar of career milestones.
Pethybridge, Ruth
'Five songs' : more than a metaphor -- In: Animated. Win 2011 : p.19-21
Considers the experience of dancing 'Five songs on the rooftops', a work choreographed by Angela Praed and danced on the roofs of Truro, Cornwall. Reflects on the unexpected benefits of the decision not to publicise the event but leave it for people to "discover", and the obscured positions of some of the dancers. Discusses the dancers' ambivalent attitude towards the safety harnesses they were forced to wear and how the safety restrictions mirror attitudes to risk in care of the elderly.
Ruegger, Emmanuele
The Stuttgart miracle : 50 years on -- In: Ballet 2000. n.216, Jan 2011 : p.32-35
Reviews the history of the Stuttgart Ballet, focusing on the trend of encouraging new choreography begun by its founder John Cranko. Describes the current composition of the company and outlines plans for celebrating its 50th anniversary.
Shreeves, Rosamund
Dancing in the landscape -- In: Animated. Win 2011 : p.28-30
Recounts some of her experiences in Guatemala as she toured with a mixture of performances and workshops (mostly with local children).
Smith, Charlotte
Roadkill -- In: Total theatre. v.22, n.4, Win 2010 : p.9-11
Explains the premise of 'Roadkill', a piece of devised theatre about the sex trafficking industry, initially presented as part of the IETM: International Network for Contemporary Performing Arts meeting in Glasgow, but with plans to tour it internationally. Explores the contradictions of this "site-specific" show, set in a generic flat without particular connection to the surrounding community, and dealing with international themes on an intimate (and, to date) uneconomic scale.
Includes information about IETM (which gets its acronym from its origins in 1981 as the Informal European Theatre Meeting). <http://www.ietm.org/> Sobelle, Geoff
Existential clown Geoff Sobelle in his own words -- In: Total theatre. v.22, n.4, Win 2010 :
Geoff Sobelle discusses what draws him to clowning, and the genesis and development of the work he has created in partnership with Charlotte Ford: 'Flesh and blood & fish and fowl'. <http://www.fleshbloodfishfowl.com/> Wilson, Thomas
Remixing theatre -- In: Total theatre. v.22, n.4, Win 2010 : p.12-14
Using Quarantine's 'Susan and Darren', Pina Bausch's 'Kontakthof' and Anna Halprin's 'Parades and changes' as examples, considers the possibilities inherent in reworking or re-presenting devised works.
Verdolini Abbott, Katherine
Lessac-Madsen Resonant Voice Therapy -- San Diego, CA: Plural Publishing, 2008.
"Note: This manual is intended for use in voice therapy provided by a licensed speech-language pathologist trained in Lessac-Madsen Resonant Voice Therapy (LMRVT) by Dr. Katherine Verdolini Abbot or another individual whom she has appointed. Clinical use of the materials by any other individual is strictly prohibited by the author. The manual may also be used by educators and students who wish to obtain an overview of the approach and its materials. However, application of the approach or materials to clinical situations without the requisite training is prohibited. The materials contained herein are not intended to treat or diagnose any condition." -- Contents page.
Albee, Edward
Me, myself & I -- In: American theatre. v.27, n.10, Dec 2010 : p.59-74
Cast: 4m 2w
Mother, high-maintenance, arbitrary and obstinate, was deserted by Father the day their identical twins were born, and since then has been sleeping with her (fully clothed) doctor. The boys, named OTTO and otto, now aged 28, have grown into mirror images of one another: OTTO loud and aggressive, otto a pale reflection, quiet and diffident. OTTO declares his intention to become Chinese, (psychologically) torments his mother and brother, has sex with otto's girlfriend, brings Father back from his unexplained absence of nearly thirty years (he arrives driving a coach laden with emeralds and drawn by black panthers), denies the existence of otto and proclaims the existence of another twin Otto [in italics].
Arenas, Boris Gonzalez; Diaz, Agnieska Hernandez; Pickett, Jane; Tomasko, Joy
Project Por Amor
The closest farthest away = La entranable lejana : an international collaboration -- In:
TheatreForum. n.38, 2010 : p.76-106 A live theatre piece that incorporates multiple video screens and television monitors/panels as well as pre-recorded music. Three characters appear live onstage; the Cuban scenes (eleven actors, plus extras) were recorded on video in Havana in 2007 and 2009. In this love story between an American man and a Cuban woman, the onstage actors interact with the filmed characters, dissolving virtually the real-life barriers that prevent Cubans and Americans from travelling freely to each other's countries. The Cuban actors speak Spanish and the Americans speak English; both languages are surtitled.
Axler, Rachel
Smudge -- In: TheatreForum. n.38, 2010 : p.16-34
Cast: 2m 1w
We follow Nick and Colby from parents-to-be, unable to interpret the ultra-sound, to parental maturity, as they each come to terms with their feelings towards their severely disabled daughter and towards their future, in a play that manages to be simultaneously moving, disturbing and funny.
Axler says in an interview: "I’ve tried really hard to wipe away any real notion of what this child’s physical reality is because it’s really, really not supposed to be a play about deformity or disability or health or abortion or medicine. I was writing about the terrible fear of not loving, or connecting to, your own child.” Butler, Daws
Scenes for actors and voices -- Albany, GA: BearManor Media, 2003.
A book of scenes, exercises and advice for voice actors from Daws Butler, who voiced most of the classic Hanna-Barbera characters (Yogi Bear, Huckleberry Hound.) and has coached many successful voice actors, including Nancy Cartwright (the voice of Bart Simpson).
Randerson, Jo
The unforgiven harvest -- In: Two plays; Playmarket, 2010. : p.73-132
Cast: 3m 3w
"Set in rural New Zealand, the play centres on a family near breaking point, with relationships held together by role playing and the abuse of power. By the end, we see that nobody is innocent and that indifference to another's pain is no protection against revenge." -- Back cover Romeril, John
Jonah -- In: Damage; Currency Press, 2010. : p.83-170
Cast: 5m 5w doubling
"'Jonah', with music by Alan John, is Romeril's Brechtian adaptation of Louis Stone's 1911 novel about Sydney's larrikin Push at the turn of the nineteenth century.Romeril's version tells Stone's original story but adds layers, especially with the exploitative manufacturer Packer, whom Jonah eventually buys out. More importantly this version of the story takes it forward to the First World War, making Jonah a war profiteer and setting his company firmly on the path towards twentieth-century corporate success. The stories of the women he meets on his way - Ada, the teenage mother of his beloved son; Clara, the woman he loves but rejects when she turns out to be criminally mercenary; and Miss Giltinan, the dull but business-like woman in the store, for whom he finally settles - are told with much less sentimentality than in Stone's novel." -- Introduction 'Jonah' was commissioned and first produced under the title 'Jonah Jones' by the Sydney Theatre Company at the Wharf Theatre, Sydney, on 26 October 1985. -- p. 85 The original music is available through HLA Management.
Romeril, John
Lost weekend : a surreal and gothic Western District tale -- In: Damage; Currency Press,
".brings together two couples for a weekend at Xanadu, the fading but luxurious homestead and property that Margie, like a generation of matriarchs before her, struggles to maintain. Alongside them is the wonderfully sensible Theresa, a young but highly capable and independent representative of the old servant/slave class on which rural Australia once built its economic power. .The old squattocracy . comes up hard against the new industrial world represented by Eric's long battle as a trade union activist." -- Introduction "This version of the play is based on the draft performed for the 1989 premier season. It was condensed and slightly rewritten at the behest of Queensland Theatre Company for their subsequent production." -- p.247 Romeril, John
Top end -- In: Damage; Currency Press, 2010. : p.171-244
Cast: 4m 3w doubling
"The play is set in Darwin in 1975 eleven months after its devastation by Cyclone Tracy, and during the Australian election battle between the sacked Prime Minister Gough Whitlam and the Opposition Leader Malcolm Fraser. Fraser had forced the election by controversially blocking the money supply bills in the Senate which left the Government without funds to meet its day-to-day costs. On top of this, a month previously a group of Australian journalists (the 'Balibo Five') had been killed in East Timor during the Indonesian incursions that were a prelude to their invasion in early December. The old union battler Dolly, the humanitarian nurse Rosa, and the idealistic young journalist Jill are all in some way traumatised by the events around them, but they also have intimated needs of their own. And they meet up with the old digger Dight and his rabidly right-wing but passionately loving wife Norma in a series of encounters which establish this as a community in a war zone full of people who, for all their differences, are not themselves at war with each other." -- Introduction "This version of the script is based on the MTC's premier production." -- p.173 Ronder, Tanya
Vernon God Little -- London: Nick Hern Books, 2007.
Cast: 5m 4w doubling
"Vernon Little is fifteen years old and lives with his mother in Martirio, a flea-bitten Texan town. His best friend just massacred sixteen of their classmates before killing himself. The town wants vengeance and turns its sights on Vernon, who is arrested at the start of the story." -- Back cover Adapted by Tanya Ronder from the book by DBC Pierre. Most of the songs in the script are not detailed in full because of copyright restrictions, but they formed an integral part of the original production. splicing between the lines of dialogue as suggested. The music could be different in another production, both the choice of songs and who plays or sings what." -- Note.
Shakespeare, William
Measure for measure -- Basingstoke: Macmillan, 2010.
Cast: Large cast
When the Duke of Vienna disappears and leaves the strict Angelo in charge, Claudio is sentenced to death for premarital sex. His sister Isabella (a nun-in-training) goes to Angelo to plead for Claudio's life. She's shocked by the choice Angelo presents: compromise her virtue by sleeping with Angelo and save her brother's life, or remain pure and condemn Claudio to death.
Plays in the RSC Shakespeare series include a scholarly introduction, scene by scene analysis, background on Shakespeare and Elizabethan theatre, and interviews with a variety of contemporary theatre artists about their interpretations of each play. Published by arrangement with Modern Library, an imprint of The Random House Publishing Group, a division of Random House Inc.
Shakespeare, William
Richard II -- Basingstoke: Macmillan, 2010.
Cast: Large cast
Having reluctantly agreed to allow his quarrelling subjects Henry Bolingbroke and Thomas Mowbray to duel, Richard then intervenes and banishes both men. When Bolingbroke's father, John of Gaunt, dies, Richard seizes all of his land and money before going to Ireland to manage the war that is raging there. While the king is away, Bolingbroke returns to England to win back his inheritance and to overthrow Richard, supported by a large group of nobles who are dissatisfied with Richard's rule. On his return to England, Richard is captured, imprisoned, and subsequently murdered, causing Bolingbroke, newly crowned as Henry IV, to declare his intention to take a pilgrimage to Jerusalem to cleanse himself of the deed. Plays in the RSC Shakespeare series include a scholarly introduction, scene by scene analysis, background on Shakespeare and Elizabethan theatre, and interviews with a variety of contemporary theatre artists about their interpretations of each play. Published by arrangement with Modern Library, an imprint of The Random House Publishing Group, a division of Random House Inc.
Shakespeare, William
The taming of the shrew -- Basingstoke: Macmillan, 2010.
Cast: Large cast
"Christopher Sly, a beggarly tinker, falls asleep drunk, having been thrown out of an ale-house. A lord takes him into his house and plays a trick involving the pretence that Sly is a lord himself, for whose benefit a company of players will act The Taming of the Shrew. The main action then commences. Fortune-hunting Hortensio, rich old Gremio and newly-arrived-in-town Lucentio all wish to court beautiful Bianca, but she cannot marry before her older sister, shrewish Kate. Petruchio vows to woo Kate both for her dowry and for the challenge of overcoming her fearsome reputation. Hortensio and Lucentio gain access to Bianca by disguising themselves as tutors, while Lucentio's servant Tranio plays the role of his master. Petruchio marries Kate – turning up late wearing the most unsuitable clothes imaginable – and takes her off to his country house, where he 'tames' her through various forms of deprivation. Tranio persuades a travelling schoolteacher to pretend to be Lucentio's father Vincentio in order to give assurance of Lucentio's financial means; there is confusion when the real Vincentio turns up, but the love-match between Lucentio and Bianca is happily settled. Hortensio marries a wealthy widow and Petruchio and Kate return to reveal that she is a changed woman." -- The Royal Shakespeare Company website. Plays in the RSC Shakespeare series include a scholarly introduction, scene by scene analysis, background on Shakespeare and Elizabethan theatre, and interviews with a variety of contemporary theatre artists about their interpretations of each play. Published by arrangement with Modern Library, an imprint of The Random House Publishing Group, a division of Random House Inc.
Shakespeare, William
Troilus and Cressida -- Basingstoke: Macmillan, 2010.
Cast: 24m 4w + extras
"For seven years the Greeks and Trojans have been at war following the Trojan prince Paris' abduction of Helen, the most beautiful woman in the world, from her Greek husband Menelaus. The besieging Greek army is encamped under the walls of Troy and, at the point at which the play begins, the war has reached stalemate. The Greeks are quarrelling amongst themselves. Achilles, their greatest champion, refuses to fight and has withdrawn to his tent with his lover, Patroclus. Ulysses tries to entice Achilles back to the field by arousing his jealously against Ajax, a rival warrior, whom he acclaims as their new hero and elects to meet Hector, the Trojan champion, in single combat. Equally at odds with themselves, the Trojans are debating the value of continuing the war merely for the sake of keeping Helen. Hector declares her not worth the lives she costs but when his brother Troilus contends that honour demands they continue to fight for her, Hector is brought round to his point of view. Although the single combat between Ajax and Hector ends in a show of amity, hostilities are resumed the following day. Troilus, however, is much distracted from these military concerns by his love for Cressida, the daughter of Calchas, a Trojan who has defected to the Greek camp whilst leaving his daughter in Troy. The young lovers are eagerly abetted by Cressida's uncle Pandarus, who acts as their go-between. However, after only one night together they are parted when, in exchange for the captured general Antenor, Cressida is sent to join her father in the Greek camp. Almost immediately she betrays Troilus with the Greek Diomedes and, discovering this, Troilus is plunged into despair. Despite his sister Cassandra's prophecies of doom, Hector goes into battle and is treacherously murdered by Achilles, who has finally been roused into action by the death of Patroclus. With the fall of Troy certain, Troilus, disillusioned as a lover, assumes Hector's role as the Trojan champion and vows revenge on Achilles. The dying, disease-ridden Pandarus is left to end the play." -- The Royal Shakespeare Company website. Plays in the RSC Shakespeare series include a scholarly introduction, scene by scene analysis, background on Shakespeare and Elizabethan theatre, and interviews with a variety of contemporary theatre artists about their interpretations of each play. Published by arrangement with Modern Library, an imprint of The Random House Publishing Group, a division of Random House Inc.
Videorecordings
Antony Tudor centennial : centennial celebration, the Juilliard School, March 28-30, 2008 --
[United States] Antony Tudor Ballet Trust, 2010.
There is a companion book with many photographs of the centennial celebration and a large collection of remembrances. [See 792.82092 ANT in the Main Collection.] Coco avant Chanel -- Neutral Bay, NSW: Warner Bros Entertainment Australia, 2010.
"From her humble beginnings at a French country orphanage to the extravagant heights of Parisian society, Chanel's indomitable creative spirit was expressed as a dance hall singer, seamstress, social rebel and fashion icon." -- Container. DVD of a motion picture first released in 2009. Freely adapted from the novel 'L'irreguliere' by Edmonde Charles-Roux. Performed by Audrey Tautou, Benoit Poelvoorde, Alessandro Nivola, Marie Gillain, Emmanuelle Devos Screenplay by Anne Fontaine and Camille Fontaine in cooperation with Jacques Fieschi; Creative consultant, Christopher Hampton; Director of Photography, Christophe Beaucarne; Costume Designer, Catherine Leterrier; Production Designer, Olivier Radot; Editing, Luc Barnier; Production Manager, Frederic Blum; produced by Caroline Benjo, Carole Scotta, Philippe Carcassonne, Simon Arnal. Special feature: Commentary by director and writer Anne Fontaine; 'Coco avant Chanel: la rencontre' - an intimate look at bringing the story to the screen; 'The making of Coco avant Chanel' - 7 fascinating clips. In French with English subtitles Region 4; Dual layer; Widescreen Rated M: suitable for mature audiences 16 years and over. Note: contains offensive language Coco Chanel & Igor Stravinsky -- [Collingwood, Vic] Madman Entertainment, 2009.
"Paris 1913, Coco Chanel is devoted to her work and madly in love with Arthur "Boy" Capel. At the Theatre des Champs-Elysees, Igor Stravinsky premieres his Rite of Spring. Coco attends the premiere and is mesmerised. But the revolutionary work is too modern, too radical: the enraged audience boos and jeers. A near riot ensues. Stravinsky is inconsolable. Seven years later, the rich, respected and successful Coco is devastated by Boy Capel's death. She meets Stravinsky again - now penniless and exiled by the Russian Revolution. Their attraction is immediate and electric. Coco offers Stravinsky the use of her new country villa so that he will be able to work. He moves in straight away, with his children and consumptive wife. And so a passionate, intense love affair between two creative giants begins." -- Container. Released as a motion picture in 2009. Performed by: Mads Mikkelsen, Anna Mouglalis. Director of photography, David Ungaro ; editor, Anny Danche ; music, Gabriel Yared Special features: Exclusive Australian interview with director Jan Kounen; deleted scenes; The making of Coco and Igor; theatrical trailer. In French with English subtitles. PAL, region 4. Rated M: Suitable for mature audiences 16 years and over. Note: contains sex scenes. Alternate title: Coco and Igor Vocal function exercises -- [San Diego, CA] Plural Publishing, 2002.
The "How to" series of clinical practicum provides specific and programmatic information on how to complete vocal function exercises (VFE) and incorporate them in the clinical care of voice patients. Featured speaker: Joseph C. Stemple; demonstrator: Judy Wingate.
Woyzeck -- Melbourne: Contemporary Arts Media, 2010.
"In a narrow and lifeless existence, Woyzeck - a lowly private in the army - must make sense of why his life is turning in on itself. His mistress Marie, regional Captain and arrogant Drum Major all descend into a circle of betrayal against Woyzeck, and the local Doctor's abstract experiments on him do not help the matter. His learning of Marie's affair with the Drum Major is the tipping point, which tragically sends him a downward spiral into madness and vengeful fantasies.
There are glimpses of hope with Marie's eventual repentance and times when Woyzeck seems to reflect on his life and the subject of human choice; but do they have any effect? Will Woyzeck regain control? What happens if he does not?'Woyzeck', adapted from the renowned Georg Buchner stage-play of the same name, analyses the warpedness of the human condition, the opportunities for hope that we miss and the social paradoxes that can work through us all.
This production is the world's first English-speaking feature-length film adaptation of the stage-play. One of the unique features of the film is that all the principle cast are 17 years of age or under." -- Container. First screening in August 2010 at 20th Century Fox Studios, Soho, London. Performed by: Nathan Crossan-Smith (Franz Woyzeck), Anna Fraser-Allen (Marie), Mzimkhulu Mtetwa (Andres), Johnny Merritt-Edwards (Captain), Damian Hughes (Drum Major), Bethan Caddick (Margaret), Yasmin Marciniak (Doctor). Music composed by Daniel Halford; production designer, Wynn Moran; director of photography, Andrew James Litt.
[Special features: four 'Making of Woyzeck' videos; scene rehearsal footage; photo gallery; two trailers, official and alternative are available on a second disc].

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