Bøger i Applause Books serien

THEATRE FOR YOUNG AUDIENCES AROUND THE WORLD IN 21 PLAYS

These popular editions allow the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Each note, each gloss, each commentary reflects the stage life of the play with constant reference to the challenge of the text in performance. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process.

These popular editions allow the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Each note, each gloss, each commentary reflects the stage life of the play with constant reference to the challenge of the text in performance. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process.

If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts.The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos.The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. Never has there been a Folio available in modern reading fonts. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan "look " none of them is easily and practically utilized in general Shakespeare studies or performances.

In one of Shakespeare's most famous tragedies, the three daughters of the king of Britain are put to the test of declaring their love for their father, King Lear. The test leads to the expulsion of the favorite daughter, Cordelia; the undermining of the king; and ultimately the unraveling of Lear's sanity. In true Shakespeare fashion, greed, war, lust, and misplaced good intensions intersect to form an inevitable climax of poison and swordplay, making King Lear arguably the greatest tragedy of all time. George Bernard Shaw wrote, "No man will ever write a better tragedy than Lear" (Shaw on Shakespeare, Applause Books). If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts.The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos.The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. Never has there been a Folio available in modern reading fonts. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan "look " none of them is easily and practically utilized in general Shakespeare studies or performances.

If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts. The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos. The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan "look " none of them is easily and practically utilized in general Shakespeare studies or performances.

THE BRUTE AND OTHER FARCES

PLAYS BY AMERICAN WOMEN: 1930-1960

CLIFFORD ODETS AMERICAN PLAY WRIGHT 1906-1940

SWORD FIGHTING: A MANUAL FOR ACTORS & DIRECTORS

OK! THE STORY OF OKLAHOMA! A CELEBRATION OF AMERICA'S MOST BELOVED MUSICAL.

BERNARD SHAW ,

SOMEWHERE FOR ME: A BIOGRAPHY OF RICHARD RODGERS

FORBIDDEN ACTS - PIONEERING GAY AND LESBIAN PLAYS OF THE 20TH CENTURY

CONVERSATIONS WITH MILLER (ARTHUR MILLER)

Have you ever noticed how clever you feel in the theatre? You get the joke when no one on the stage is laughing. You see the threat that no one on the stage seems to notice. You weep when leading characters do not shed a tear. Sometimes you feel an almost God-like understanding of people and events.Who put you in this privileged position? The Audience & The Playwright analyzes the tactics used by all playwrights, from Sophocles to David Mamet, to give the audience extraordinary powers and a unique role that it will play perfectly and without rehearsal.Structured as an evening in the theatre, the book is analytical but straightforward, serious but entertaining. A working playwright's view of what really happens between the stage and the audience, from the beginning of the play until the end, it is a book for the serious theatregoer, as well as a book for the college classroom."Mayo Simon would be a wonderful opening night date. He knows the theatre like the palm of his hand, loves it, and articulates it. Short of Mayo as a date, this book is your best companion."- Jon JoryProfessor of Acting & Directing, University of Washington School of Drama

The Great American Playwrights on the Screen is a complete, up-to-date record of movie and television productions of classic and contemporary works of the great playwrights. Rich in historical value and detail, this reference book not only tracks Tony Award and Pulitzer Prize winners, but also unearths unheralded treasures and forgotten performances by great actors and the great directors they served.To show the ongoing influences and legacies of the great plays, Roberts compares and contrasts the adapted versions, and includes colorful reviews by prominent critics of tv and film (beginning with those of the silent era). The profound expansion of television into American homes in the 1950s brought a flood of adapted plays to the small screen, and resulted in the rebirth of the careers, of many significant playwrights. The Great American Playwrights on the Screen provides fans with a video and DVD guide to the adapted works of the playwrights, and shows which versions are available for home viewing and in which media (VHS, Beta, Laser, DVD, Letterbox). Simultaneously, this book is a unique, one-stop source for academics, students of the theatre arts, actors, directors and producers.Organized in an easy-to-use A-Z format, the book features over 200 playwrights including Arthur Miller, Marsha Norman, Eugene O'Neill, Aaron Sorkin, Neil Simon, Wendy Wasserstein, and Tennessee Williams. In addition, The Great American Playwrights on the Screen resurrects the memories of television productions of plays at a critical time, when many of them - including Emmy Award winners and nominees - are deteriorating in vaults.

BEST IN SHOW: THE FILMS OF CHRISTOPHER GUEST AND COMPANY

RIDICULOUS! THE THEATRICAL LIFE AND TIMES OF CHARLES LUDLAM

MERCY IN HER EYES: THE FILMS OF MIRA NAIR

WHO'S WHO IN ANIMATED CARTOONS: AN INTERNATIONAL GUIDE TO FILM AND TELEVISION'S...

"It's Only a Movie is the best book ever written about my father. It really is amazing." -Patricia HitchcockNorth by Northwest. Psycho. Rear Window. The Birds. Vertigo. When it comes to murder and mayhem, shock and suspense, the films of Alfred Hitchcock can not be surpassed. For this book, Charlotte Chandler interviewed Hitchcock, his wife, daughter, film crew members, and many of the stars who appeared in his films, including Kim Novak, Janet Leigh, Cary Grant, Tippi Hedren and James Stewart.Throughout the book, Chandler shares Hitchcock's wit and wisdom. When actors took themselves too seriously, he would remind them, "it's only a movie." Chandler introduces us to the real Hitchcock, a devoted family man and notorious practical joker, who made suspenseful thrillers mixed with subtle humor and tacit eroticism.

RAGE AND GLORY: THE VOLATILE LIFE AND TIMES OF GEORGE C. SCOTT

NOT THE GIRL NEXT DOOR: JOAN CRAWFORD A PERSONAL BIOGRAPHY

SHE ALWAYS KNEW HOW: MAE WEST A PERSONAL BIOGRAPHY

SON OF HARPO SPEAKS!