Using the knowledge that I have gained through thirty-one years of processing veteran’s disability claims, I have written a book that will help veterans shepherd their claims through the VA bureaucracy.
"Keep Your VA Claim Moving" gives the basic facts about how the VA claims process works as well as insights into how the VA works that I’ve gained from working for the VA for thirty-one years. Having retired in 2014 my information is up to date. Since retiring I have done consulting work with a law firm on VA claims. This will help veterans who are considering filing a claim and also those who have already filed a claim and are wondering what has happened to it.
There have been several books published in 2013 and 2014 on the subject of how to file a VA disability claim. This book is written by someone who is not just a consumer of VA benefits but who has actually worked for VA processing claims
In this instant New York Times bestseller, Misty Copeland makes history, telling the story of her journey to become the first African-American principal ballerina at the prestigious American Ballet Theatre. But when she first placed her hands on the barre at an after-school community center, no one expected the undersized, underprivileged, and anxious thirteen-year-old to become one of America’s most groundbreaking dancers . A true prodigy, she was attempting in months roles that take most dancers years to master. But when Misty became caught between the control and comfort she found in the world of ballet and the harsh realities of her own life, she had to choose to embrace both her identity and her dreams, and find the courage to be one of a kind.
With an insider’s passion, Misty opens a window into the life of an artist who lives life center stage, from behind the scenes at her first classes to her triumphant roles in some of the world’s most iconic ballets. A sensational memoir as “sensitive” and “clear-eyed” (The Washington Post) as her dancing, Life in Motion is a story of passion, identity and grace for anyone who has dared to dream of a different life.
Teacher recommended, Gail Grant's Technical Manual has long been one of the most popular and effective ballet reference guides. Completely revised and updated, this third edition is virtually a new work and should be owned by every student, dance teacher, choreographer, and ballet enthusiast — even those who purchased the second edition. Extensive revision, expansion, and the inclusion of more than 300 new terms have added immeasurably to the value of this concise, definitive manual.
Moving from "abstract ballet" and "adage, adagio" to "working leg" and "wrapped position," the book fully describes and defines over 1,100 ballet steps (saul de chat, jeté enveloppé, failli, entrechat six, etc.), movements and poses (arabesque, épaulement, attitude, en arrière, retiré, à terre, dégagé, etc.), and other expressions and concepts. For each, first a phonetic transcription is provided, then a literal translation, and finally an explanation of how the step is performed, the pose captured, or the movement executed, of how the concept fits in with actual ballet dancing, or of the purpose or function of the idea. A pronunciation guide, cross-references to alternate names for similar steps and positions that vary from the Russian to the French or Italian schools, and a bibliography are all invaluable aids.
But the most important supplement is the 15-page pictorial section, drawn by the author, who is both a successful ballet teacher and dancer. Keyed to the dictionary (and vice-versa), these diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many of the more common ballet steps and movements. This essential and easy reference is a must for every teacher, aspiring dancer, and ballet class.
Voice acting is like acting, but just using your voice! It's a unique career where the actor's voice can be heard worldwide-in commercials, on audiobooks, in animated movies, documentaries, online videos, telephone systems and much, much more. The point is to bring the written word to life with the human voice.
With step-by-step explanations and an abundance of examples, Voice Acting For Dummies is the ultimate reference for budding voice actors on auditioning, recording, producing voice-overs, and promoting themselves as a voice actor.Creating a voice acting demo Finding your signature voice Interpreting scripts Using audio editing software Promoting your voice acting talents
If you're an aspiring voice actor or an actor or singer considering a career transition, Voice Acting For Dummies has everything you need to let your voice talents soar.
The extraordinary memoir of a peasant boy raised in rural Maoist China who was plucked from his village to study ballet and went on to become one of the greatest dancers of his generation.
From a desperately poor village in northeast China, at age eleven, Li Cunxin was chosen by Madame Mao's cultural delegates to be taken from his rural home and brought to Beijing, where he would study ballet. In 1979, the young dancer arrived in Texas as part of a cultural exchange, only to fall in love with America-and with an American woman. Two years later, through a series of events worthy of the most exciting cloak-and-dagger fiction, he defected to the United States, where he quickly became known as one of the greatest ballet dancers in the world. This is his story, told in his own inimitable voice.
THE BASIS FOR A MAJOR MOTION PICTURE
From the Trade Paperback edition.
The principles of Vaganova's system are presented in this well-known book. Mme. Vaganova's aim of creating a personal approach to the Russian dance was based on the critical assimilation of the experience of her contemporaries. Her ability to choose the best of what had been accomplished in the various ballet traditions (French, Italian, and Russian) and combine these into a unified teaching practice in itself amounted to a new school of dance. She firmly believed that the teaching process should be a planned exercise, ever changing with innovations in the dance. She sought from her pupils emotional expressiveness, strictness of form, a resolute, energetic manner of performance, and the understanding of the underlying coordination of movements.
Her book discusses all basic principles of ballet, grouping movements by fundamental types. Chapters cover battements, rotary movements of the legs, the arms, poses of the classical dance, connecting and auxiliary movements, jumps, beats, point work, and turns as well as material for a sample lesson. Diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many steps and movements. The result is a fundamental theory of dance that offers dancers, teachers, and ballet lovers information often difficult to locate in other books.
She'd given up on love. He didn't have time for it. She thinks he's a stuck up pretty boy who doesn't care about anyone but himself, and he thinks she's a stuck up prude who wouldn't know how to "put out" if she tried. And yet...
Antonio Riverra AKA Tony Rivers comes from a lower class background, raised in the rough streets of gang-infested L.A. His only saving grace was his mother who was a dance teacher. However, Tony kept his knowledge of ballet a highly-guarded secret. He’s applied for early admission to a number of California performing arts colleges, but earned a scholarship to small but prestigious school, the San Oaho College of Visual and Performing Arts.
Allison (Allie) Holbrook is the rebellious daughter of a rich man. She doesn’t know her mother, as she was abandoned on her father’s doorstep when she was three. Since a paternity test confirmed she was his, Jefferson Holbrook took financial but not emotional responsibility for her. He had a nanny care for her until she was old enough to go to boarding school. She’s had the best of everything but good role models. Because her father controls everything about her life, and Jefferson believes the only thing a rich man’s daughter should do is marry a rich man’s son, he sends her off to the San Oaho College of Visual and Performing Arts while he finds her a husband.
Does love have limits? At what cost?
Out of nowhere, when Allie least expects it, Tony crashes into her life. Now, the stakes have never been higher.
This is steamy romance, NOT erotica.
Search Terms: Suspense romance, hot and steamy, dance, romantic suspense, romantic comedy, sports romance, new adult and college romance, sport romance, dark romance, contemporary romance
Sex, as much as dance, was a driving force for Nureyev. From his first secret liaison in Russia to his tempestuous relationship with the great Danish dancer Erik Bruhn, we see not only Nureyev’s notorious homosexual history unfold, but also learn of his profound effect on women--whether a Sixties wild child or Jackie Kennedy and Lee Radziwill or the aging Marlene Dietrich. Among the first victims of AIDS, Nureyev was diagnosed HIV positive in 1984 but defied the disease for nearly a decade, dancing, directing the Paris Opéra Ballet, choreographing, and even beginning a new career as a conductor. Still making plans for the future, Nureyev finally succumbed and died in January l993.
Drawing on previously undisclosed letters, diaries, home-movie footage, interviews with Nureyev’s inner circle, and her own dance background, Julie Kavanagh gives the most intimate, revealing, and dramatic picture we have ever had of this dazzling, complex figure.
NOTE: This edition does not include photos.
Swans of the Kremlin offers a fascinating glimpse at the collision of art and politics during the volatile first fifty years of the Soviet period. Ezrahi shows how the producers and performers of Russia’s two major troupes, the Mariinsky (later Kirov) and the Bolshoi, quietly but effectively resisted Soviet cultural hegemony during this period. Despite all controls put on them, they managed to maintain the classical forms and traditions of their rich artistic past and to further develop their art form. These aesthetic and professional standards proved to be the power behind the ballet’s worldwide appeal. The troupes soon became the showpiece of Soviet cultural achievement, as they captivated Western audiences during the Cold War period.
Based on her extensive research into official archives, and personal interviews with many of the artists and staff, Ezrahi presents the first-ever account of the inner workings of these famed ballet troupes during the Soviet era. She follows their struggles in the postrevolutionary period, their peak during the golden age of the 1950s and 1960s, and concludes with their monumental productions staged to celebrate the fiftieth anniversary of the revolution in 1968.
Jenifer Ringer, a principal dancer with the New York City Ballet, was thrust into the headlines after her weight was commented on by a New York Times critic, and her response ignited a public dialogue about dance and weight.
Ballet aficionados and aspiring performers of all ages will want to join Ringer behind the scenes as she shares her journey from student to star and candidly discusses both her struggle with an eating disorder and the media storm that erupted after the Times review. An unusually upbeat account of life on the stage, Dancing Through It is also a coming-of-age story and an inspiring memoir of faith and of triumph over the body issues that torment all too many women and men.
The first chapter defines and illustrates the basic theory of the positions, body movements, and technical terms. Detailed chapters of exercises include "Exercises at the Bar," "Port de Bras," "Centre Practice," "Adagio," and "Allegro." Each exercise appears with a numbered series of instructions, and a table of daily exercises for the week is provided. The text is accompanied by 109 line illustrations, showing positions and movements of the body in detail and offering ballet lovers a perfect guide to the basics of classical ballet.
For more than four hundred years, the art of ballet has stood at the center of Western civilization. Its traditions serve as a record of our past. Lavishly illustrated and beautifully told, Apollo’s Angels—the first cultural history of ballet ever written—is a groundbreaking work. 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, émigré dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans, a historian, critic, and former professional ballerina, wields a knowledge of dance born of dedicated practice. Her admiration and love for the ballet, asEntertainment Weekly notes, brings “a dancer’s grace and sure-footed agility to the page.”
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW • LOS ANGELES TIMES • SAN FRANCISCO CHRONICLE • PUBLISHERS WEEKLY
You don’t have to be a fan of the ballet to enjoy this captivating tale, available for the first time in ebook.
In 1931, Ninette de Valois started a ballet company with just six dancers. Within twenty years, The Royal Ballet - as it became - was established as one of the world's great companies. It has produced celebrated dancers, from Margot Fonteyn to Darcey Bussell, and one of the richest repertoires in ballet.
The company danced through the Blitz, won an international reputation in a single New York performance and added to the glamour of London's Swinging Sixties. It has established a distinctive English school of ballet, a pure classical style that could do justice to the 19th-century repertory and to new British classics.
Leading dance critic, Zoë Anderson, vividly portrays the extraordinary personalities who created the company and the dancers who made such an impact on their audiences. She looks at the bad times as well as the good, examining the controversial directorships of Norman Morrice and Ross Stretton and the criticism fired at the company as the Royal Opera House closed for redevelopment.
Yet despite the scorn heaped on him, and his consequent obscurity, Minkus is far from being forgotten. Since the early 1960s his name has slowly begun to re-surface. Two works, Don Quixote (1869) and La Bayadère (1877), have been presented in their entirety for the first time to new audiences all over the world. The musical and dramatic power of both ballets has taken people by surprise. The stories have a very real human appeal, the choreography attracts the admiration of balletomanes, and the music, with its rhythm, verve, and beauty of melody, holds attention and engages the heart wherever it is heard.
This introduction seeks to discover something more behind the blank façade of Minkus’s life and work. What do we actually know about him as a man and as an artist? Are we able to apprehend his oeuvre as a whole, and how much can we establish from the available material? What is the nature of the music he created for those few works that have survived the years, and that have come to the fore again recently to delight those who have ears to hear?
This study includes iconography from the life and times of the composer, many musical examples from his works, and a comprehensive bibliography and discography.
Presenting a series of historical case studies, the book explores the ways in which, from the nineteenth century into the twentieth, ballet has been a means of conjuring homosexuality – of enabling some degree of expression and visibility for people who were otherwise declared illegal and obscene.
the perverse sororities of the Romantic ballet the fairy in folklore, literature, and ballet Tchaikovsky and the making of Swan Lake Diaghilev’s Ballets Russes and the emergence of queer modernity the formation of ballet in America the queer uses of the prima ballerina Genet’s writings for and about ballet.
Also including a consideration of how ballet’s queer tradition has been memorialized by such contemporary dance-makers as Neumeier, Bausch, Bourne, and Preljocaj, this is an essential book in the study of ballet and queer history.
Ballet Beyond Tradition seeks to reconcile these age-old conflicts and bring a new awareness to ballet teachers of the importance of a holistic training regimen that draws on the best that modern dance and movement-studies offers.
Using the stories of great dancers such as Anna Pavlova, Isadora Duncan, Suzanne Farrell, Gelsey Kirkland, and Evelyn Hart, Deirdre Kelly exposes the true rigors for women in ballet. She rounds her critique with examples of how the world of ballet is slowly evolving for the better. But to ensure that this most graceful of dance forms survives into the future, she says that the time has come to rethink ballet, to position the ballerina at its center and accord her the respect she deserves.
Fast forward four decades. Lauren-suddenly, powerfully, itchingly restless at midlife-embarks on a "Transcontinental Nutcracker Binge Tour," where attending a string of performances in Chicago, New York, Boston, and San Francisco reignites her love affair with the ballet-and fuels her girlhood dream.
What ensues is not only a story about The Nutcracker itself, but also an inside look at the seemingly romantic-but oh-so-gritty-world of ballet, about all that happens away from the audience's eye that precedes the magic on stage. It is a tale told from the perspective of someone who not only loves it, but is also seeking to live it. Lauren's quest to dance The Nutcracker with the Eugene Ballet Company tackles the big issues: fear, angst, risk, resilience, the refusal to "settle in" to midlife, the refusal to become yet another Invisible Woman. It is also a very funny, very real look at what it's like to push yourself further than you ever thought you could go-and what happens when you get there.
From Richard Buckle, one of the all-time leading authorities on golden-era Russian dance, Nijinsky is an account of the rise and fall of perhaps the most iconic ballet performer of the twentieth century, Vaslav Nijinsky. Drawing on personal conversations with countless people who knew and worked with Nijinsky, including his sister and famed choreographer Bronislava Nijinska, Buckle’s intimate and astonishing portrait reveals a master whose reign was all too brief.
As a dancer, interpretive artist, and choreographic pioneer, Nijinsky reached unparalleled heights. His breathtaking performances with the Ballets Russes took Western Europe by storm, and his avant-garde choreography for The Afternoon of a Faun and The Rite of Spring, both now regarded as the foundation of modern dance, caused riots in the streets.
Through his liaison with the great impresario Sergei Diaghilev, Nijinsky worked with the artistic elite of the time—including Alexandre Benois, Léon Bakst, Claude Debussy, Mikhail Fokine, Tamara Karsavina, Anna Pavlova, and Igor Stravinsky—and lived in an atmosphere of perpetual glamour, hysteria, and intrigue. But when Njinsky married Hungarian aristocrat Romola de Pulszky, Diaghilev abruptly dismissed him from the Ballets Russes. Five years after the betrayal, Nijinsky was diagnosed with schizophrenia and declared insane, and the final curtain fell on the world’s most famous dancer.
This remarkable biography both celebrates Nijinsky’s profound genius and shadows his descent into the madness that is inextricably linked with his legendary reputation.
At the top of the stairs there are four secrets hidden. Blond, beautiful, innocent, and struggling to stay alive . . .
They were a perfect family, golden and carefree—until a heartbreaking tragedy shattered their happiness. Now, for the sake of an inheritance that will ensure their future, the children must be hidden away out of sight, as if they never existed. Kept on the top floor of their grandmotherds vast mansion, their loving mother assures them it will be just for a little while. But as brutal days swell into agonizing months and years, Cathy, Chris, and twins Cory and Carrie, realize their survival is at the mercy of their cruel and superstitious grandmother . . . and this cramped and helpless world may be the only one they ever know.
Book One of the Dollanganger series, the sequels include Petals in the Wind, If There Be Thorns, Seeds of Yesterday, and Garden of Shadows. Then experience the attic from Christopher’s point of view in Christopher’s Diary: Secrets of Foxworth and Christopher’s Diary: Echoes of Dollanganger.
The story of the fire, its causes, and its legal and human aftermath is one of lives put at risk by petty economic decisions--by a band, club owners, promoters, building inspectors, and product manufacturers. Any one of those decisions, made differently, might have averted the tragedy. Together, however, they reached a fatal critical mass.
Killer Show is the first comprehensive exploration of the chain of events leading up to the fire, the conflagration itself, and the painstaking search for evidence to hold the guilty to account and obtain justice for the victims.
Anyone who has entered an entertainment venue and wondered, "Could I get out of here in a hurry?" will identify with concertgoers at The Station. Fans of disaster nonfiction and forensic thrillers will find ample elements of both genres in Killer Show.
Herein, sandwiched between wise and heartfelt literary offerings by life-long dedicated writers and practitioners of the Vedanta, living and passed, lie complementary writings on some of the most respected spiritual traditions of the world, all in Nectar-like fashion. And, as usual with Nectar of Nondual Truth, the underlying theme which connects all of these beings and their mature perspectives together is that of Universality. Just as the Formless Reality called Brahman makes up the unseen but pervasive substratum for all that lies in the diverse realm of name and form, so does the eternal tenet of Universality support and weave together all religious traditions. When recognition of this great truth dawns on the human mind, it is immediately free, on so many levels.
Some of the dancers struggle with eating disorders, injuries, and depression. Everyone's goal is a contract with a professional ballet company, and as graduation nears, the pressure intensifies. Although Anna goes to all the ballet companies' annual auditions, she receives not a single offer.
Falling for Tyler complicates things, but with the lead in the annual workshop performance, Anna gets one last chance to make her dreams come true.
The world-renowned New York City Ballet developed their proven wellness program to help dancers reach their potential without compromising their health. As one of the key designers of this program, former dancer and clinical psychologist Linda Hamilton, Ph.D. provides the essential principles of wellness that will help you achieve your goals in all levels and forms of dance. These include keeping yourself physically healthy, nutritionally sound, and mentally prepared as a dancer. New York City Ballet's celebrated program, here for the first time in book form, highlights every tool you'll need to stay in great shape.
Glerum explains that four main principles make up the core of this book: know the rigging system; keep it in safe working order; know how to use it; and keep your concentration. Glerum applies these principles to all of the major types of stage rigging systems, including block and tackle, hemp, counterweight, and motorized. He describes each type of rigging, then thoroughly reviews the operating procedures and methods of inspecting existing systems.
Esper worked closely with Meisner for seventeen years and has spent decades developing his famous program for actor's training. The result is a rigorous system of exercises that builds a solid foundation of acting skills from the ground up, and that is flexible enough to be applied to any challenge an actor faces, from soap operas to Shakespeare. Co-writer Damon DiMarco, a former student of Esper's, spent over a year observing his mentor teaching first-year acting students. In this book he recreates that experience for us, allowing us to see how the progression of exercises works in practice. The Actor's Art and Craft vividly demonstrates that good training does not constrain actors' instincts—it frees them to create characters with truthful and compelling inner lives.
From the Trade Paperback edition.
Through this vivid portrait of a dancer's every day, Deborah Bull reveals the arc of a dancer's life: from the seven-year-old's very first ballet class, through training, to company life, up through the ranks from corps de ballet to principal and then, not thirty years after it all began, to retirement and the inevitable sense of loss that comes with saying goodbye to your childhood dreams.
Pugni later followed Perrot to St Petersburg and became official composer of the Imperial Theatres in St Petersburg. His most famous collaboration, with Marius Petipa, now followed, which lasted until Pugni’s death. Some of his ballets already well-known in Europe were transferred to St Petersburg, although he also composed new ballets in Russia. Pugni is known above all for his enormous output of musical works, including more than 300 ballets, a dozen operas, over 40 masses, other polyphonic works, and a few symphonies, among which was a Sinfonia a canone, highly praised by Meyerbeer. This extremely prolific composer was very popular with the public, as all his ballets are easy to to listen to and to understand. He also found no diffculty in adapting his music to suit all sorts of choreographic needs, and many different performers.
Doch’ Faraona, or La Fille du Pharaon is a ballet in 3 acts and 9 scenes with prologue and epilogue. The scenario was devised by Vernoy de Saint-Georges and Marius Petipa, with choreography by Petipa. It was first performed on 30 January 1862, in St Petersburg at the Bolshoi Theatre. The principal dancers were Carolina Rosati, Nicholas Golts, Marius Petipa, and Lev Ivanov.
The ballet was inspired by Théophile Gautier’s Le Roman de la Momie, and narrates the adventures of the English Lord Wilson and his servant John Bull,who seek shelter from a storm in an Ancient Egyptian tomb. They smoke opium and in their dreams are taken back to the times of the characters buried there: Lord Wilson meets the Pharaoh’s daughter Aspicia during a lion hunt, helps her to escape from the invidious attentions of the King of Nubia, and undergoes various adventures with her in the Egyptian countryside (including a visit to the watery underworld of the King of the Nile where all the great rivers of the world are represented in national dance). He is eventually saved from sacrifice and united with her in marriage, before waking to the cold light of reality.
The ballet was a resounding success. The spectacle lasted over 4 hours and featured a cast of 400, 80 of them dancers. The spectacle was prepared in only 6 weeks for Carolina Rosati’s farewell performance. This success secured Marius Petipa’s appointment as maître de ballet (assistant ballet master) in St Petersburg. It marked the last of Rosati’s appearances in Russia, but thereafter tempted other great ballerinas, including Marie Petipa, Yekaterina Vazem, Virginia Zucchi, Mathilda Kschessinskaya and Anna Pavlova, each of them contributing her own interpretation of the heroine’s part.
Marius Ivanovich Petipa (1818 -1910) was a hugely influential French balletmaster, teacher and choreographer who became Premier Maître de Ballet of the St. Petersburg Imperial Theatres from 1871 until 1903. Petipa created over fifty ballets, some of which have survived in versions either faithful to, inspired by, or reconstructed from the original, including Pharaoh's Daughter (1862); Don Quixote (1869); La Bayadère (1877); Le Talisman (1889); and Sleeping Beauty (1890) among others. Petipa also revived a substantial number of works created by other ballet masters. His productions became the definitive versions from which nearly all subsequent revivals would be based — Le Corsaire, Giselle, Coppélia, La Fille mal gardée (with Lev Ivanov), The Little Humpbacked Horse and Swan Lake (with Lev Ivanov). There are various dances from Petipa's original works and revivals that have survived in an independent form in versions either based on the original or choreographed anew by others.
In 1987, a small, aspirant dance group with a striking name made its debut on the London fringe. In 1996, Adventures in Motion Pictures made history as the first modern dance company to open a production in London's West End. From this achievement, AMP sailed triumphantly to Broadway - winning three Tony Awards - guided by Artistic Director Matthew Bourne.
Even before the inception of AMP, Bourne was fascinated by theatre, by characterization, and by the history of dance. In his early works - Spitfire, Town & Country and Deadly Serious - Bourne brought a novel approach to dance. And in his reworkings of the classics of the ballet canon - Nutcracker, Swan Lake, Cinderella - Bourne created witty, vivid, poignant productions that received great acclaim.
In the first decade of the new millennium, the company name was changed to New Adventures, and Bourne's 'classics', as well as Bourne's new works - The Car Man, Play Without Words, Edward Scissorhands and Dorian Gray - achieved levels of box-office popularity that have seldom, if ever, been matched in dance. In addition, his choreography for various musicals - My Fair Lady, Mary Poppins and Oliver! - have run for years in the West End and on Broadway.
The detail in which Bourne discusses his work with Alastair Macaulay is unprecedented. The two explore Bourne's upbringing, his training and influences, and his distinctive creative methods. Bourne's notebooks, his sources and his collaboration with dancers all form part of the discussion in this book.
Presents the significant philosophical issues concerning the performing arts in an accessible style, assuming no prior knowledge
Provides a critical overview and a comprehensive framework for thinking about the performing arts
Examines the assumption that classical music provides the best model for thinking about artistic performance across the performing arts
Explores ways in which the ‘classical paradigm’ might be extended to other musical genres, to theatre, and to dance
Applies the thinking on performing arts to the issue of ‘performance art’
Dance and theatre roots and connections;
Bausch’s developmental process;
The creation of Tanztheater;
Interviews, reviews and major essays chart the evolution of Bausch’s pioneering approach and explore this evocative new mode of performance. Edited by noted Bausch scholar, Royd Climenhaga, The Pina Bausch Sourcebook aims to open up Bausch’s performative world for students, scholars, dance and theatre artists and audiences everywhere.
Ce livre bilingue anglais/français regroupe l'ensemble des conférences données lors du premier colloque du Festival International de Vidéo Danse de Bourgogne. Il aborde cette discipline sous une multitude d'angles : analyses esthétiques et historiques, la notion de caméra somatique, points de vue d'artistes créateurs de vidéo-danses... Un panorama contemporain, né du travail d'un groupe de chercheurs internationaux, pour la première fois disponible en français.
This is the first book to contain, in one comprehensive volume, every molding and casting procedure of use to the theater props builder (no matter what his or her level or proficiency). The author demonstrates the techniques involved in using more than thirty different materials ranging from papier-mache to breakaway glass.
While the use of some materials–plaster and polyester resins, for example–is covered to some extent in other publications, information on the selection and use of rubber materials (latex, neoprene, silicone, and the urethanes) and the procedure for making breakaway windows and bottles is available only in The Prop Builder's Molding & Casting Handbook.
Written in an easy, conversational style, the book will be useful to anyone involved with theater properties, puppetry, and costuming (as professionals or amateurs). It will also serve admirably the needs of students taking classes in those subjects.
Completing the book is a special section on designing and building a vacuum forming machine suitable for use in constructing theater props. More than 450 photographs illustrate the step-by-step procedures explained throughout the entire text.
Ballet For Dummies is for anyone who wants to enjoy all that the dance forms offers – as an onlooker who wants to get a leg up on the forms you're likely to see or as an exercise enthusiast who understands that the practice of ballet can help you gainMore strength Greater flexibility Better body alignment Confidence in movement Comfort through stress reduction Infinite grace – for life
From covering the basics of classical ballet to sharing safe and sensible ways to try your hand (and toes) at moving through the actual dance steps, this expert reference shows you how toBuild your appreciation for ballet from the ground up. Choose the best practice space and equipment. Warm up to your leap into the movements. Locate musical options for each exercise. Look for certain lifts in a stage performance. Tell a story with gestures. Picture a day in the life of a professional ballet dancer. Identify best-loved classic and contemporary ballets. Speak the language of ballet.
Today you can find a ballet company in almost every major city on earth. Many companies have their own ballet schools – some for training future professionals, and others for interested amateurs. As you fine-tune your classical ballet technique – or even if you just like to read about it – you'll become better equipped to fully appreciate the great choreography and many styles of the dance. Ballet For Dummies raises the curtain on a world of beauty, grace, poise, and possibility!
But Jesse is the least of Indigo’s concerns. When she discovers her mom is an alcoholic, it simultaneously explains everything and heaps more worry on Indigo’s shoulders. As her mom’s behavior becomes increasingly erratic, Indigo fights to maintain balance, protect her younger brothers from abuse, and keep her mother from going over the edge. When the violence at home escalates, Indigo realizes she can no longer dance around the issue. At the risk of losing everything, she must take matters into her own hands before it’s too late.
Divided into four sections, 'Status', 'Spontaneity', 'Narrative Skills', and 'Masks and Trance', arranged more or less in the order a group might approach them, the book sets out the specific techniques and exercises which Johnstone has himself found most useful and most stimulating. The result is both an ideas book and a fascinating exploration of the nature of spontaneous creativity.
New and updated in this edition:
All new scripts and voice exercises
More voice and acting techniques
Coverage of new trends, including online demos and online auditions
Additional coverage of audiobooks and new information on home studio technology
All new contributions from some of the top voice talent in the world
Each Edition Includes:
• Comprehensive explanatory notes
• Vivid introductions and the most up-to-date scholarship
• Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English
• Completely updated, detailed bibliographies and performance histories
• An interpretive essay on film adaptations of the play, along with an extensive filmography
"To me the most interesting aspect of the success of Man of La Mancha is the fact that it plows squarely upstream against the prevailing current of philosophy in the theater. That current is best identified by its catch-labels--Theater of the Absurd, Black Comedy, the Theater of Cruelty--which is to say the theater of alienation, of moral anarchy and despair. To the practitioners of those philosophies Man of La Mancha must seem hopelessly naive in its espousal of illusion as man's strongest spiritual need, the most meaningful function of his imagination. But I've no unhappiness about that. "Facts are the enemy of truth," says Cervantes-Don Quixote. And that is precisely what I felt and meant."--Dale Wasserman, from the Preface.
From the Trade Paperback edition.
Paralyzed by grief and unable to put his thoughts into words, Nick, a fire captain, seeks out the help of a writer to compose eulogies for the colleagues and friends he lost in the catastrophic events of September 11, 2001. As Joan, an editor by trade, draws Nick out about “the guys,” powerful profiles emerge, revealing vivid personalities and the substance and meaning that lie beneath the surface of seemingly unremarkable people. As the individual talents and enthusiasms of the people within the small firehouse community are realized, we come to understand the uniqueness and value of what each person has to contribute. And Nick and Joan, two people who under normal circumstances never would have met, jump the well-defined tracks of their own lives, and so learn about themselves, about life, and about the healing power of human connection, through talking about the guys.
From the Trade Paperback edition.
Skillfully assembled by Shakespeare’s fellow actors in 1623, the First Folio was the original Complete Works. It is arguably the most important literary work in the English language. But starting with Nicholas Rowe in 1709 and continuing to the present day, Shakespeare editors have mixed Folio and Quarto texts, gradually corrupting the original Complete Works with errors and conflated textual variations.
Now Jonathan Bate and Eric Rasmussen, two of today’s most accomplished Shakespearean scholars, have edited the First Folio as a complete book, resulting in a definitive Complete Works for the twenty-first century.
Combining innovative scholarship with brilliant commentary and textual analysis that emphasizes performance history and values, this landmark edition will be indispensable to students, theater professionals, and general readers alike.