Кинематограф, театр ЛитРес

Chinese Media in Africa: Perception, Performance, and Paradox analyzes the debate on Chinese media expansion in Africa and its implication for the African media landscape by engaging with African journalists who train and work in Chinese media organizations based in Africa. Emeka Umejei analyzes how African journalists that enter the sphere of Chinese media, often with libertarian notions of journalism, are able to navigate the collisions and collusions that inform journalism in these settings. Through extensive interviews with African journalists, Umejei explores the constant negotiation of freedoms—including the ability to always work in relation to African reality—within state-controlled media organizations. These interviews bring to light the paradoxical nature of Chinese media organizations that both preach equality with Africa and simultaneously promote Chinese hegemony in the media, highlighting the diverse contours that shape and influence journalism practices in these settings. Scholars of journalism, media studies, African studies, international relations, and sociology will find this book particularly useful.

American Ethnographic Film and Personal Documentary is a critical history of American filmmakers crucial to the development of ethnographic film and personal documentary. The Boston and Cambridge area is notable for nurturing these approaches to documentary film via institutions such as the MIT Film Section and the Film Study Center, the Carpenter Center and the Visual and Environmental Studies Department at Harvard. Scott MacDonald uses pragmatism’s focus on empirical experience as a basis for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. By exploring the cinematic, personal, and professional relationships between these accomplished filmmakers, MacDonald shows how a pioneering, engaged, and uniquely cosmopolitan approach to documentary developed over the past half century.

The world is in the midst of a social media paradigm. Once viewed as trivial and peripheral, social media platforms like Twitter, Facebook and WeChat have become an important part of the information and communication infrastructure of society. They are bound up with business and politics as well as everyday life, work, and personal relationships. This international Handbook addresses the most significant research themes, methodological approaches and debates in the study of social media. It contains substantial chapters written especially for this book by leading scholars from a range of disciplinary perspectives, covering everything from computational social science to sexual self-expression. Part 1: Histories And Pre-Histories  Part 2: Approaches And Methods  Part 3: Platforms, Technologies And Business Models Part 4: Cultures And Practices Part 5: Social And Economic Domains

Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno—affiliated through friendship, professional ties, and argument—developed an astute philosophical critique of modernity in which technological media played a key role. This book explores in depth their reflections on cinema and photography from the Weimar period up to the 1960s. Miriam Bratu Hansen brings to life an impressive archive of known and, in the case of Kracauer, less known materials and reveals surprising perspectives on canonic texts, including Benjamin’s artwork essay. Her lucid analysis extrapolates from these writings the contours of a theory of cinema and experience that speaks to questions being posed anew as moving image culture evolves in response to digital technology.

Lone Scherfig was the first of a number of women directors to take up the challenge of Dogme, the back-to-basics, manifesto-based, rule-governed, and now globalized film initiative introduced by Danish filmmakers Lars von Trier and Thomas Vinterberg in 1995. Entitled Italiensk for begyndere (Italian for Beginners), Scherfig's Dogme film transformed this already accomplished filmmaker into one of Europe's most noteworthy women directors. Danish and international critics lavished praise on Scherfig and her film, and their reactions harmonized with those of festival juries.Battered by life, but by no means defeated or destroyed, the characters in Italian for Beginners are all in touch at some deep intuitive level with the truth that is the film's basic message: that happiness and a sense of self-worth are sustained by love–whether romantic love or that of a community of like-minded people. The film struck an important chord with viewers precisely because it took Dogme in a new direction, one that reflects Scherfig's sensibilities and preferences as a woman.The book includes the Dogme manifesto and draws on interviews with the filmmaker as well as with the cast and crew.Watch the book trailer: https://www.youtube.com/watch?v=gk7SGfrIHGA

Comedy is a powerful contemporary source of influence and information. In the still-evolving digital era, the opportunity to consume and share comedy has never been as available. And yet, despite its vast cultural imprint, comedy is a little-understood vehicle for serious public engagement in urgent social justice issues – even though humor offers frames of hope and optimism that can encourage participation in social problems. Moreover, in the midst of a merger of entertainment and news in the contemporary information ecology, and a decline in perceptions of trust in government and traditional media institutions, comedy may be a unique force for change in pressing social justice challenges. Comedians who say something serious about the world while they make us laugh are capable of mobilizing the masses, focusing a critical lens on injustices, and injecting hope and optimism into seemingly hopeless problems. By combining communication and social justice frameworks with contemporary comedy examples, authors Caty Borum Chattoo and Lauren Feldman show us how comedy can help to serve as a vehicle of change. Through rich case studies, audience research, and interviews with comedians and social justice leaders and strategists, A Comedian and an Activist Walk Into a Bar: The Serious Role of Comedy in Social Justice explains how comedy – both in the entertainment marketplace and as cultural strategy – can engage audiences with issues such as global poverty, climate change, immigration, and sexual assault, and how activists work with comedy to reach and empower publics in the networked, participatory digital media age.

Brands are everywhere. Branding is central to political campaigns and political protest movements; the alchemy of social media and self-branding creates overnight celebrities; the self-proclaimed “greening” of institutions and merchant goods is nearly universal. But while the practice of branding is typically understood as a tool of marketing, a method of attaching social meaning to a commodity as a way to make it more personally resonant with consumers, Sarah Banet-Weiser argues that in the contemporary era, brands are about culture as much as they are about economics. That, in fact, we live in a brand culture.Authentic™ maintains that branding has extended beyond a business model to become both reliant on, and reflective of, our most basic social and cultural relations. Further, these types of brand relationships have become cultural contexts for everyday living, individual identity, and personal relationships—what Banet-Weiser refers to as “brand cultures.” Distinct brand cultures, that at times overlap and compete with each other, are taken up in each chapter: the normalization of a feminized “self-brand” in social media, the brand culture of street art in urban spaces, religious brand cultures such as “New Age Spirituality” and “Prosperity Christianity,”and the culture of green branding and “shopping for change.”In a culture where graffiti artists loan their visions to both subway walls and department stores, buying a cup of “fair-trade” coffee is a political statement, and religion is mass-marketed on t-shirts, Banet-Weiser questions the distinction between what we understand as the “authentic” and branding practices. But brand cultures are also contradictory and potentially rife with unexpected possibilities, leading Authentic™ to articulate a politics of ambivalence, creating a lens through which we can see potential political possibilities within the new consumerism.

Archie Bunker. Jed. Laverne and Shirley. Cliff Huxtable. Throughout the entire history of American prime-time television only four sitcoms have been true blockbusters, with Nielsen ratings far above the second- and third-rated programs. Weekly, millions of Americans of every age were making a special effort to turn on the set to see what Archie, Jed, Laverne, and Cliff were doing that week. The wild popularity of these shows– All in the Family , The Beverly Hillbillies , Laverne & Shirley (and its partner Happy Days ), and The Cosby Show –left commentators bewildered by the tastes and preferences of the American public. How do we account for the huge appeal of these sitcoms, and how does it figure into the history of network prime-time television? Janet Staiger answers these questions by detailing the myriad factors that go into the construction of mass audiences. Treating the four shows as case studies, she deftly balances factual explanations (for instance, the impact of VCRs and cable on network domination of TV) with more interpretative ones (for example, the transformation of The Beverly Hillbillies from a popular show detested by the critics, to a blockbuster after its elevation as the critics' darling), and juxtaposes industry-based reasons (for example, the ways in which TV shows derive success from placement in the weekly programming schedule) with stylistic explanations (how, for instance, certain shows create pleasure from a repetition and variation of a formula). Staiger concludes that because of changes in the industry, these shows were a phenomenon that may never be repeated. And while the western or the night-time soap has at times captured public attention, Blockbuster TV maintains that the sitcom has been THE genre to attract people to the tube, and that without understanding the sitcom, we can't properly understand the role of television in our culture.

Legendary screenwriting instructor and award-winning writer Paul Chitlik presents an easy-to-read, step-by-step process to take your script from first draft to submission.

• A collection of essays written by theatre practitioners and experts with track records of successful audience engagement• Discusses findings from TCG's ongoing assessments and research of the field, as well as findings from cross-disciplinary sources• Explores current audience engagement and community development models in the field• Dynamic essays that aim to connect with their theatre peers to share successful strategies• Every essay is selected from Svich’s work with the “TCG Circle,” the national professional theatre blog. The essays come from a salon about audience engagement, a forum curated by Svich.• An important book for the theatre field and university theatre schools.• The book’s editor, Caridad Svich, is a widely-respected writer and editor in the theatre field• Caridad Svich received a 2012 OBIE Award for Lifetime Achievement in the theatre.• Svich was honored with a 2012 Edgerton Foundation New Play Award for her play Guapa.• Svich won the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based on the Isabel Allende novel.

<P>Anna Halprin is one of the most important innovators in the history of modern dance, performance art, and post-modern dance. Moving Toward Life brings together for the first time her essays, interviews, manifestos, and teaching materials, along with over 100 illustrations, providing a rich account of the work that radicalized an entire generation of performers.</P><P>Since the late 1950s, Halprin has been at the forefront of experiments in dance, from improvisation and street theatre to dances in the environment and healing dances. A brief overview of Halprin's career shows how her work has prefigured – and transfigured – crucial developments in postmodern dance. In the 1960s, Halprin invented the «workshop,» and in the wake of the Watts riots, her multiracial company broke boundaries in their confrontational political performances. In the 1970s, she organized «community rituals» to explore how individual creativity feeds positively into group dynamics. These healing social events led to her current work with cancer survivors and people challenging AIDS and their caregivers.</P><P>Depicting Halprin's deep commitment to social change, Moving Toward Life presents an engaging, critical document of the life of one of the most influential and least known luminaries of American dance. Sally Banes and Janice Ross join Rachel Kaplan in providing introductory essays to sections of the book.</P>

"An attractive and informed guide. It includes an extensively cross-referenced list of films on which leading couturiers worked, a superb collection of stills, and a brief history of costume on the screen." — George L. George, MillimeterThis handsome book, the first comprehensive reference work on costume design in films, is a remarkable tribute to the men and women who «dress» a film. Substantially revised and updated, it not only presents a splendid record of costume designers' contributions to cinema but also those of some of the world's great couturiers.The heart of the book is an illustrated listing, arranged alphabetically by designer, providing biographical and career data (screen credits, major awards and nominations) for every major American, British, and French designer who worked on American and British films between 1909 and 1987. Among the designers are such luminaries as Adrian, Travis Banton, Edith Head, Christian Dior, Orry-Kelly, Givenchy, Jean Louis, Howard Greer, Helen Rose, Norman Hartnell, Irene Sharaff, Walter Plunkett, Charles LeMaire, Tony Walton, and Ann Roth. Their creations are featured in over 170 photographs and design renderings reproduced on high-quality coated stock. Also included is an invaluable index containing titles of 6,000 films, cross-indexed by designer, along with over 400 new film credits covering the period 1976 – 1987. In addition, an Appendix lists Academy Award nominations from 1948 (when the design award was first established), as well as the names of those honored by the British Academy for Film and Television Arts.Essential reading for fashion and costume industry professionals, historians, and students, this superb sourcebook will be valued by countless moviegoers and the legions of film aficionados studying and working in motion pictures."The author's stills are excellent, clearly identified, and often very enlightening." — Polly Platt, American Film

"Mr. Suzuki's art seeks to reach audiences not through the intellect but through the senses and instincts."— New York Times "In my opinion, a 'cultured' society is one where the perceptive and expressive abilities of the human body are used to the full; where they provide the basic means of communication."—Tadashi SuzukiRenowned for his actor training methods, Tadashi Suzuki provides a thorough and accessible formulation of his ideas and beliefs in this new edition of his theater writings. One of the world's most revered theater directors, Suzuki is also a seminal thinker and practitioner whose work has had a profound influence on theater worldwide. This landmark collection provides a useful, provocative look at his philosophical and practical approaches to the stage. Culture is the Body is a complete revision of Suzuki's influential book The Way of Acting , featuring new essays and in a revised translation by Kameron Steele, a longtime collaborator of Suzuki's.Legendary theater director Tadashi Suzuki explains his revered approach in this new edition of his writings. Tadashi Suzuki is the founder and director of the Suzuki Company of Toga (SCOT), the organizer of Japan's first international theater festival (Toga Festival), and the creator of the Suzuki Method of Actor Training. Suzuki has articulated his theories in a number of books. He has taught his system of actor training in schools and theaters throughout the world. Besides productions with his own company, he has directed several international collaborations.

One of the world's most erudite and entertaining film critics on the state of cinema in the post-digital—and post-9/11—age. This witty and allusive book, in the style of classic film theorists/critics like André Bazin and Siegfried Kracauer, includes considerations of global cinema's most important figures and films, from Lars von Trier and Jia Zhangke to WALL-E, Avatar and Inception.

Los Angeles has always been as much a star in film noir as any actor, be it Humphrey Bogart, Barbara Stanwyck, Burt Lancaster, Ava Gardner or Jack Nicholson. In L.A. Noir: The City as Character renowned film historians Alain Silver and James Ursini explore the world of noir cinema in the context of Los Angeles. The book features dozens of noir and neo-noir landmark films from Double Indemnity, Criss Cross, Sunset Boulevard, Gun Crazy, The Big Heat, Kiss Me Deadly, and Touch of Evil in the classic period (1940-1960) to such neo-noir notables as Chinatown, L.A. Confidential, Mulholland Drive, and Pulp Fiction.L.A. Noir illustrates how these noir films use L.A.'s diverse cityscape and architecture to convey a unique vision of urban corruption and existential fatalism, not only in the ever-changing, chaotic downtown of Bunker Hill, Main Street, and Chinatown, but in its affluent coastal communities (Santa Monica, Malibu) as well as its deceptively sunny suburbs (South Bay, San Fernando Valley). The authors deftly analyze the key films of noir while integrating them into the geography and history of this «dark city» which became such an important icon of noir literature and film.L.A. Noir is profusely illustrated with approximately 150 photographs-many of them appearing in print for the very first time-including production stills from the movies discussed, archival photos of the locations from the films and new photographs of the locations today, chronicling the ever-changing cityscape of this noir character-Los Angeles.

Where the Blood Mixes is meant to expose the shadows below the surface of the author’s First Nations heritage, and to celebrate its survivors. Though torn down years ago, the memories of their Residential School still live deep inside the hearts of those who spent their childhoods there. For some, like Floyd, the legacy of that trauma has been passed down through families for generations. But what is the greater story, what lies untold beneath Floyd’s alcoholism, under the pain and isolation of the play’s main character?Loring’s title was inspired by the mistranslation of the N’lakap’mux (Thompson) place name Kumsheen. For years, it was believed to mean “the place where the rivers meet”—the confluence of the muddy Fraser and the brilliant blue Thompson Rivers. A more accurate translation is: “the place inside the heart where the blood mixes.” But Kumsheen also refers to a story: Coyote was disemboweled there, along a great cliff in an epic battle with a giant shape-shifting being that could transform the world with its powers—to this day his intestines can still be seen strewn along the granite walls. In his rage the transformer tore Coyote apart and scattered his body across the nation, his heart landing in the place where the rivers meet.Floyd is a man who has lost everyone he holds most dear. Now after more than two decades, his daughter Christine returns home to confront her father. Set during the salmon run, Where the Blood Mixes takes us to the bottom of the river, to the heart of a People.In 2009 Where the Blood Mixes won the Jessie Richardson Award for Outstanding Original Script; the Sydney J. Risk Prize for Outstanding Original Script by an Emerging Playwright; and most recently the Governor General’s Literary Award for Drama.

“A fascinating and provocatively stimulating distillation of three decades of intense conversations between one of the twentieth century’s few true theater innovators and America’s leading writer on the theatrical avant-garde. A splendid book.”—Clive Barnes “Peter Brook continues to astonish, not in an ordinary, fashionable way, but in an ancient, insistent way that always forces one inward. There is a true, honest, fearless voice in this fascinating conversation.”—Ken Burns Peter Brook, one of the most important contemporary theatrical directors in the West, shares his most insightful thoughts and deepest feelings about theater with Margaret Croyden, who has followed his career for thirty years, gaining an unparalleled perspective on the evolution of his work. In these interchanges from 1970 to 2000, Brook freely discusses major works such as his landmark airborne A Midsummer Night’s Dream and his untraditional interpretation of the opera La Tragédie de Carmen . He also covers the establishment of the Paris Center, his work in the Middle East and Africa, and his masterwork, the nine-hour production of The Mahabharata , which has virtually reinvented the way actors and directors think about theater. Margaret Croyden is a well-known critic, commentator, and journalist, whose articles on theater and the arts have appeared in The New York Times , The Nation , The Village Voice , American Theatre , and Antioch Review , among others. She is the author of Lunatics, Lovers and Poets , a seminal book on the development of nonliterary theater.

A MASTERFUL BOOK ABOUT BREATHING LIFE INTO ART AND ART INTO LIFE “Stephen Nachmanovitch’s The Art of Is is a philosophical meditation on living, living fully, living in the present. To the author, an improvisation is a co-creation that arises out of listening and mutual attentiveness, out of a universal bond of sharing that connects all humanity. It is a product of the nervous system, bigger than the brain and bigger than the body; it is a once-in-a-lifetime encounter, unprecedented and unrepeatable. Drawing from the wisdom of the ages, The Art of Is not only gives the reader an inside view of the states of mind that give rise to improvisation, it is also a celebration of the power of the human spirit, which — when exercised with love, immense patience, and discipline — is an antidote to hate.” — Yo-Yo Ma, cellist

African Video Movies and Global Desires is the first full-length scholarly study of Ghana’s commercial video industry, an industry that has produced thousands of movies over the last twenty years and has grown into an influential source of cultural production. Produced and consumed under circumstances of dire shortage and scarcity, African video movies narrate the desires and anxieties created by Africa’s incorporation into the global cultural economy. Drawing on archival and ethnographic research conducted in Ghana over a ten-year period, as well as close readings of a number of individual movies, this book brings the insights of historical context as well as literary and film analysis to bear on a range of movies and the industry as a whole. Garritano makes a significant contribution to the examination of gender norms and the ideologies these movies produce. African Video Movies and Global Desires is a historically and theoretically informed cultural history of an African visual genre that will only continue to grow in size and influence.

"I was totally unprepared for the transformation that Seth's technique created in me. . . . I realized that what I thought I knew about acting up to that point was largely misguided . . . but I now had a great, talented, dedicated teacher who generously wanted to share his tools with everyone. There is muscularity, not to mention wisdom and truth to Seth's techniques. He is a wonderful teacher, and I know that having him as my first guide is one of the luckiest things to have happened to me in my career and life. And when I can't get back to class with him, I am so grateful I have this book to turn to."—Anne Hathaway"This book is truly unlike anything else I know—these pieces are haikus on specific elements of performance and character building."—Philip Himberg, executive director, Sundance Theatre InstituteA collection of practical acting tips, tools, and exercises, An Actor's Companion is ideal for both the seasoned professionals and actors-in-training. The tips—all simple, direct, and useful—are easy to understand and even easier to apply, in both rehearsal and in performance. Seth Barrish is an actor, teacher, and the co-artistic director of The Barrow Group in New York City. In his thirty-year career, he has directed the award-winning shows My Girlfriend's Boyfriend (Lucille Lortel Award for Best Solo Show, Drama Desk and Outer Critics Circle nominations for Best Solo Show), Sleepwalk With Me (Nightlife Award for Outstanding Comedian in a Major Performance), The Tricky Part (Obie Award, Drama Desk nominations for Best Play and Best Solo Show), Pentecost (Drama Desk nomination for Best Play), Old Wicked Songs (Los Angeles Drama Critics Circle Award and Garland Award for Best Direction), and Good (Straw Hat Award for Best Direction), among dozens of others.

Want your film to sizzle with danger? Then learn from the master of tension and action. Using Tar-antino’s secret tricks for creating conflict, keeping dialogue taut, and letting all hell break loose, you will enhance your own shooting style. Whatever your budget, get the action pumping with the camera setups and moves revealed in this dynamic book. Quentin Tarantino is a master of tension, suspense, shocking moments, dazzling dialogue, and off-beat humor. This book shows you why the best moments in his films work so well, and how you can use these ideas to enhance your own filmic style and stun your audience.

Spielberg makes his audience feel something, whether he’s shooting a kids’ ­adventure, a dramatic chase, or the darkest war scene. The auteur always employs a core set of techniques that make each shot crystal clear and evoke the most intense emotions from the audience. This book shows you how. From tension to tearjerker, these moves will make your scenes memorable enough to be talked about for years to come. Spielberg directs films that cover everything from childhood dreams to the horrors of war. He always hones in on the emotional center of a scene. This book unravels the secrets of his core techniques, and shows how you can use the same simple camera moves and setups to make your films full of wonder, thrills, and emotion.

Called one of the best shows on TV by more than a dozen media publications, including Time and Entertainment Weekly , Friday Night Lights is not just one of the most critically acclaimed shows on air, it’s also one of the most watchable. Despite its focus on high school football, its masterfully crafted characters and honestly portrayed relationships make its portrait of small town Texas life compelling and relatable in ways that have nothing to do with field goals or touchdowns. Love, Loss, and Dillon Football: A Friday Night Lights Companion explores the victories and pitfalls of Dillon, Texas – both the town itself and those who live and love there. Because Friday Night Lights is so much more than just a teenage football drama: it’s about the struggle to not get trapped in the circumstances one is born into. It’s about love, it’s about loss, and, yes, it’s even about football.

In 1969, the Village Voice described Minneapolis as "America's second theater city after New York." In the forty-plus years since, the theatrical offerings of Minneapolis and St. Paul have only grown—everything from world-renowned venues to independent stages and innovative festivals—and the Twin Cities hold a prominent place in the national theater scene today. In Offstage Voices, author Peg Guilfoyle provides an in-depth look at this vibrant world and offers fascinating insights into what it takes to put on a production, from first script to closing night, and what it takes to make a living in Twin Cities theater.

Firsthand stories from practitioners of the art take you behind the scenes at a wide range of theaters, including the Guthrie, the Playwrights' Center, Ten Thousand Things, Mixed Blood, Penumbra, Theater Latté Da, Mu Performing Arts, the Minnesota Fringe Festival, and many more. Extensive interviews with actors, artistic directors, designers, and playwrights reveal rich perspectives on the at times turbulent, always passionate world of the theater. Guilfoyle brings together these myriad experiences to explore why and how the Twin Cities have established such a strong and well-regarded theatrical community over the last four decades.

Michelle Hensley, founder of Ten Thousand Things Theater in Minneapolis, shares more than twenty years of her company's nationally unique work bringing professional theater to those in prisons, homeless shelters, adult education centers, and rural areas, as well as the general public. More than a chronological history, All the Lights On is also about the radiant power of theater.

In this articulate and compelling book, Hensley distills what nontraditional audiences, along with the conditions her artists must perform under to reach them, have taught her about Brecht, the Greeks, Shakespeare, musicals, and the essence of what is necessary to make vibrant and essential theater. Her experiences lead her to conclude that theater artists become better and the art form itself much richer when everyone is included in the audience. In Ten Thousand Things productions, people from very different economic classes sit next to each other in the round and often experience unexpected connections with each other. Hensley writes in the introduction, "Not only do we have a chance to experience the multiple viewpoints of many characters in the play, but with all the lights on, we are able to consider the differing viewpoints of the other audience members seated around the circle. It all serves to increase, just a little, the radiance of our world."

Collecting advice, quotes, essays, and observations from hundreds of famous actors and highly regarded acting teachers, The Quotable Actor covers a wide range of topics on the art and history of acting.Entertaining, instructive, and informative, it is organized into specific, easy-to-search categories, such as «On Why We Act»; «On Auditioning»; «On Struggling and Building a Career»; and «On Gender Differences and Aging in the Biz.»From art and technique to business and lifestyle, entries include fascinating anecdotes and advice from some of the greatest actors in history:Marlon Brando commenting on the rehearsal processMeryl Streep’s advice on building a characterAl Pacino recalling what it was like to be a starving young artistBeauty tips from some of Hollywood’s leading ladiesRecollections of horrible auditions from A-list starsMusings from Jack Nicholson, Edwin Booth, and many othersAdditional contributors include Constantin Stanislavski, Daniel Day-Lewis, Ellen Burstyn, Julie Andrews, Paul Newman, and Peter O’Toole—providing insights into the actor’s craft that are equally useful to young actors just starting out and accomplished professionals looking for inspiration in the words of peers.

Here are two excellent books for the beginner interested in learning to perform magic and card tricks. Bound together in one convenient volume, both approach the art of conjuring in a business-like manner, grounding the novice in fundamentals and leading him gradually to a surprising mastery of some 80 different tricks involving cards, coins, matches, tumblers, handkerchiefs, rings, and various other articles associated with legerdemain. The art of presenting magic for the spectator’s entertainment is given special emphasis.Magic Tricks explains impromptu deceptions like Coin Through the Hand, Flying Dime, Down Your Sleeve, and studied mysteries like Counting Chalk, Bill in the Egg, Kling Klang, and Afghan Bands — 35 in all. Card Tricks teaches you to perform Card in the Pocket, Turn Over, Hypnotism, The 13 Principle, Eight Kings, and some 40 others, along with easy methods for false shuffling, palming, the glide, prepared cards, and many similar techniques.“If you follow the author’s instructions, you will learn how to do tricks entertainingly.” — Linking Ring.“Mr. Jonson’s books are extremely well done and serve admirably as ‘first books for amateurs.’” — Hugard’s Magic Monthly.

In Act 1, Claude, 55, visits his father Alex, 77, in an Alzheimer’s ward, intimately tending to his silent, vacant father’s bodily needs while hopelessly trying to reach him with monologues and settle misunderstandings. In Act 2, in an eerie reversal of roles, Alex visits Claude in the same ward, similarly finding disconsolate irony where he had looked for forgiveness.

– Also published by TCG: Plays, 1996-2000, a volume of Maxwell’s work- Attended Illinois State University- Artistic Director of New York City Players- Recipient of the Guggenheim Fellowship, Obie Award (for House) and Foundation for Contemporary Arts- Co-founder of the Cook County Theater Department in Chicago- His work has been presented in over sixteen countries, including Germany, France, the U.K., Italy, Argentina and Australia.

This book re-presents voices of resistance from across the globe to document the communicative processes, practices, and frameworks through which neoliberal global policies are currently being defied. Based on examples, case studies, and ethnographic reports, Voices of Resistance serves as a space for engaging various perspectives from the global margins in dialogue. The emphasis of the book is on the core idea that creating spaces for listening to voices of resistance fosters openings for the politics of social change-interweaving the stories of the local, the national, and the global. The book is divided into chapters addressing the politics of resistance in the contexts of global economic policies, agriculture, education, health, poverty, and development.

Master magicians of their time, Hatton and Plate recorded in this book — which they wrote in 1910 — solutions to problems that seemed unsolvable. Indispensible to today's amateur and professional magicians, the how-to manual explains 140 tricks performed with cards, coins, balls, eggs, handkerchiefs, and other common household items. 194 black-and-white illustrations.

"Can you tell me how to get to Carnegie Hall?" «Practice, practice, practice.» That's more than a joke; it's solid advice. Consider world-class performers in any field – golf, figure skating, music, whatever. One thing you can safely say about each is that they achieved their level of skill through practice. To excel in any endeavor, you must work on and perfect your technique. Comedy writing is no exception. In this book, Emmy-winning TV writer and producer Gene Perret and professional writer Linda Perret have compiled a collection of over 100 comedy writing workouts that will challenge your joke writing skills and develop your sketch and sitcom writing abilities. This book suggests that talent is earned through observation, study, analysis, and repetition. The authors also encourage you to analyze your writing, discover where improvement is required, and create your own skill-creating exercises. The work can be demanding, but that's what it takes to become a success in any field, including comedy writing. If you study «Comedy Writing Self-Taught Workbook» – with or without the companion volume, «Comedy Writing Self-Taught» – when your break comes, you'll be ready.

Did you know that the idea behind the Radio City Music Hall Rockettes was first tried out in Toronto? That Canada produced the world's longest-running annual revue? Few people realize the Canadian influences that are at the heart of American and British culture. Author Mel Atkey's research for Broadway North included interviews with Norman and Elaine Campbell and Don Harron, creators of Anne of Green Gables-The Musical; Mavor Moore, founder of the Charlottetown Festival and of Spring Thaw; John Gray, author of Billy Bishop Goes to War; Ray Jessel and Marian Grudeff, Spring Thaw writers who had success on Broadway with Baker Street; Dolores Claman, composer of the Hockey Night In Canada theme, who also wrote the musicals Mr. Scrooge and Timber!!; and Galt MacDermot, the composer of Hair who started out writing songs for the McGill University revue My Fur Lady. Included is the phenomenal success of The Drowsy Chaperone. Atkey also draws on his own experience as a writer and composer of musicals, and tells the story of why a show that should have starred James Doohan (Star Trek's Scotty) didn't happen. Composer, lyricist and author, Mel Atkey is currently based in the U.K. Proud of his Canadian cultural roots, he has long been fascinated with the notion of a distinctive Canadian musical theatre.

This is a book about the future and the present as well. Today there is a new configuration. We are a cybernetic man, a homo cypiens, a smarter, more agile forward thinker and a digital media user foremost. In this book we examine digital culture, our post-everything era, the impact of mobile media and how relevant it is this new post-computer generation. Also we think of the cloud, the Internet and all digital media as being main players in establishing something that could be called «the macromedium», i.e., the medium of all media.

The cloud changes the game when it brings the logic of the network for commercial domination and it spreads the motto of the computer as terminal for streaming. Thinking beyond this is to realize that what «died» here was the computer. Without our daily digital media the cloud makes no sense. We may be in a hybrid point in some cases, but the cloud is more than a trend, is a macro-event of significance and a macro-fact. However, we can still rely on the idea of Sterling and Gibson, who in the 1980s knew the computer would become more than a object of glamour and sophistication. The computer was from the start meant to be pure network, thus the cloud, and here comes a new wave of new things and the way people changed for using the digital media over the last 20 years. In the time of the cloud, the new heroes are the cloud punks.

Книга представляет собой сборник лекций, рецензий и интервью о визуальных искусствах. Используя структурный психоанализ Жака Лакана, семиологию Ролана Барта, теорию театра Антонена Арто и Бертольда Брехта, автор создает оригинальный метод интерпретации современного театрального процесса и кинематографа. Автор разрабатывает и вводит в научный оборот такие понятия, как «реальное означающее», «театральное бессознательное», «событие тела», которые описывают его концепцию визуальных искусств. Книга предназначена для широкого круга читателей, будет интересна деятелям театра и кино, философам и психоаналитикам. 2-е издание, исправленное и дополненное.

The Marks Brothers may well have been the most remarkable theatrical family in Canadian history. A phenomenon on the vaudeville circuit, the seven brothers left the farm and took to the boards and the footlights throughout the latter part of the 19th century and into the 1920s. The brothers from Christie Lake, near Perth in Eastern Ontario, played to an estimated eight million Canadians, as well as to sizeable audiences in the United States. Their road shows, largely melodramas and comedy, kept audiences crying, booing, laughing and cheering until movies sounded the death knell for touring repertory companies. The publication of The Canadian Kings of Repertoire brings back for one more curtain call the seven Marks boys, top hats, diamond rings and all. Joining them in a farewell performance are their glamorous leading ladies and a superb cast of supporting players. So clear the aisles and up with the curtain. It's showtime once more.

В предлагаемом издании представлены жанры русского песенного фольклора во всём его многообразии, от календарных земледельческих песен до образцов народного творчества, созданных в XX веке. В хрестоматию вошли и примеры русских народных песен, записанных в экспедициях 1980 и 1996 годов на территории Республики Марий Эл, в которой прияли участие также и студенты Марийского республиканского колледжа культуры и искусств имени И.С. Палантая. Издание предназначено для преподавателей и учащихся по курсу русского музыкального фольклора в средних и высших специальных учебных заведениях, а также для широкого круга исполнителей, любителей народной культуры. Учебное пособие может найти применение в ДШИ, ДМШ при изучении тем, связанных с народным музыкальным творчеством.

Монография доктора искусствоведения, профессора А.И.Демченко всецело сосредоточена на анализе содержательно-смысловой сути художественного наследия великого композитора. Этому соответственно подчинены все приводимые факты его жизнеописания и рассмотрение средств музыкальной выразительности. Стержнем изложения являются претворённые в произведениях Бетховена базовые сущности человеческого бытия (жизнедеятельность, лирика, отдохновения) и то, что определяет ведущие константы бетховенского мироотношения (героика, драма, эпос). Пролог даёт экскурс в историческую эпоху, а Эпилог – обзор стилеобразующих компонентов и итоговые обобщения. Издание приурочено к 250-летию со дня рождения Бетховена и адресовано как специалистам, так и широкому кругу ценителей музыкального искусства.

Монография доктора искусствоведения, профессора А.И.Демченко всецело сосредоточена на анализе содержательно-смысловой сути художественного наследия великого композитора. Этому соответственно подчинены все приводимые факты его жизнеописания и рассмотрение средств музыкальной выразительности. Стержнем изложения являются претворённые в произведениях Бетховена базовые сущности человеческого бытия (жизнедеятельность, лирика, отдохновения) и то, что определяет ведущие константы бетховенского мироотношения (героика, драма, эпос). Пролог даёт экскурс в историческую эпоху, а Эпилог – обзор стилеобразующих компонентов и итоговые обобщения. Издание приурочено к 250-летию со дня рождения Бетховена и адресовано как специалистам, так и широкому кругу ценителей музыкального искусства.

В книге известного культуролога, исследователя экранной культуры, свидетеля и непосредственного участника многих событий в мире кино К. Э. Разлогова на огромном фактическом материале представлена история возникновения и развития кинематографа на всех континентах. В ней прослеживается эволюция выразительных средств экрана, технические метаморфозы, экономические и политические баталии кинобизнеса. Герои книги – выдающиеся кинорежиссеры и кинооператоры, великие актеры и актрисы. Издание иллюстрировано, снабжено именным указателем и указателем фильмов. Книга адресована как специалистам (историкам, культурологам, философам), так и самому широкому кругу читателей – всем, кого интересуют история кинематографа и культуры.

Beginning comedy writers and performers may think funny can't be taught, but legendary comedy writer Gene Perret, winner of three Emmy Awards, tells otherwise in this guide to what makes a good joke work. Outlining the 10 commandments of comedy, the unbreakable rules that every gag must follow in order to be funny, this book liberates readers and allows them to immediately begin writing better and funnier comedy material. By following Perret's commandments, readers will better understand how to write jokes that connect with audiences and discover why unsuccessful material isn't working and how it can be fixed. From the First Commandment («„Thou Shalt Surprise“») to the Tenth («„Thou Shalt Be Clever“»), this work stands as a fast guide to the essentials of humor that is perfect for business presenters, after-dinner speakers, professional comedians, and anyone who wants to be funny.

Experimental O'Neill compiles in a single volume six of Eugene O'Neill's early plays: The Hairy Ape, The Emperor Jones, and what are often referred to as “The S.S. Glencairn Plays,” four related one-acts. With extensive companion essays and critical analysis, this indispensable volume brings together some of O'Neill's often overlooked and still highly controversial works. Exploring themes of race, capitalism, and isolation, these plays use a mix of realism and expressionism to highlight the human condition in groundbreaking drama that is at once thematically evocative of its era and fundamentally ahead of its time.

Это пособие о сценарном мастерстве, которое дает ответы на большинство вопросов, возникающих при создании сценария. Автор описывает приемы, которые помогут создать сценарий с хорошим коммерческим потенциалом, яркими героями и запоминающимся названием. Кроме того, известный сценарист делится своими авторскими идеями: классификацией жанров, отличной от общепринятой (в которой фильм всегда принадлежит одному жанру и не бывает боевиков с элементами триллера, драмы и приключений) и Blake Snyder Beat Sheet – структурой сценариев, описывающей большинство успешных картин. А при чем тут кот? Спасение кота – прием, который описывает автор. Если вы хотите вызвать симпатию к своему герою у зрителя, тому стоит совершить какой-нибудь вызывающий одобрение и уважение поступок, например снять котенка с дерева. Книга написана простым и понятным языком, идеи автора иллюстрируются примерами. Огромное количество положительных отзывов для специализированной книги. Книга продается с 2005 года, но до сих пор занимает очень высокое место в общем рейтинге продаж Amazon. Книга № 1 в рейтинге Amazon по теме «Киносценарии».

First published in 1953, “To the Actor: On the Technique of Acting” is the famous and influential guide to acting by Russian-American actor, director, and teacher Michael Chekhov. Born in Saint Petersburg in 1891 and the nephew of Russian playwright Anton Chekhov, Michael Chekhov studied acting from the famed theater director Konstantin Stanislavski at the First Studio of the Moscow Art Theatre and was considered by Stanislavski to be his most brilliant student. While Chekhov was at first a practitioner of Stanislavski’s “system”, which was later known as “Method Acting”, he began to disagree with his teacher’s approach and developed his own system. Chekhov sought to teach actors to discover their characters and themselves through physical gestures and imagination, rather than through a psychological or emotional examination, as favored by Stanislavski. He focused on finding the physical identity of a character and internalizing it until it becomes second nature. Chekhov’s approach was incredibly successful and he personally taught such legends as Clint Eastwood, Yul Brynner, Marilyn Monroe, Anthony Quinn, and Elia Kazan. “To the Actor: On the Technique of Acting” is an essential and timeless text for actors and directors, as well as for students and fans of theater and film.