"Imagine if you took a giant hatpin and stuck it into Sylvester Stallone’s Rocky. Once all the hot air had leaked out of that melodrama about a working-class underdog who wins fame, fortune and love in the boxing ring, you might find something very much like Richard Maxwell’s Boxing 2000. By taking a conventional formula and draining it of all its humid sentimentality and synthetic adrenaline, Mr. Maxwell discovers something new and unexpected. Boxing 2000 is a real knockout: a play that not only challenges theatrical clichés, but your ideas about theatre itself."—Wall Street Journal
""It’s a sensation that’s felt all too rarely these days. Watching Mr. Maxwell’s work makes you think of what it must have been like to stumble upon the baffling but seductive creations of a young Sam Shepard in the early 1960’s in the East Village."—, New York Times
This first volume collects nine of Maxwell’s early works: Boxing 2000, Caveman, House (1999 OBIE Award winner), Showy Lady Slipper and others.
Richard Maxwell is a writer, director and songwriter. He began his acting career with the Steppenwolf Theatre Company in Chicago, where he helped found the Cook County Theater Department, which challenged the principles of traditional acting training. He is artistic director of New York City Players. His plays have been performed in the U.S. at Soho Rep, The Kitchen, P.S. 122, HERE, the Williamstown Theater Festival, Walker Arts Center and the Wexner Center for the Arts; and in Paris, Berlin, Dublin, Brussels, Amsterdam and Vienna.
By the actress, writer, and one of the funniest women on Twitter, an outrageous, hysterical memoir of acting on impulse, plotting elaborate hoaxes, and refusing to acknowledge boundaries in any form
Jenny Mollen is an actress and writer living in Los Angeles. She is also a wife, married to a famous guy (which is annoying only because he gets free shit and she doesn't). She doesn't want much from life. Just to be loved—by everybody: her parents, her dogs, her ex-boyfriends, her ex-boyfriends' dogs, her husband, her husband's ex-girlfriends, her husband's ex-girlfriend's new boyfriends, etc. Some people might call that impulse crazy, but isn't "crazy" really just a word boring people use to describe fun people? (And Jenny is really, really fun, you guys!)
In these pages, you'll find stories of Jenny at her most genuine, whether it's stalking her therapist (because he knows everything about her so shouldn't she get to know everything about him?); throwing a bachelorette party so bad that one of the guests is suspected dead; or answering the eternal question, Would your best friend blow your husband on a car ride to dinner if she didn't know you were hiding in the backseat?
I Like You Just the Way I Am is about not doing the right thing—about indulging your inner crazy-person. It is Jenny when she's not trying to impress anyone or come across as a responsible, level-headed member of society. With any luck it will make you better acquainted with who you really are and what you really want. Which, let's be honest, is most likely someone else's email password.
Specifically, this book features:
-wide-ranging international case studies spanning the major global hubs of media labor;
-interdisciplinary approaches for thinking about and analyzing class and labor in information communication technology (ICT), consumer electronics (CE), and media/cultural production;
-an overview of global political economic conditions affecting media workers;
-reports on chemical environments and their effect on the health of media workers and consumers;
-activist scholarship on media and labor, and inspiring stories of resistance and solidarity.
The first book from the instructor who has taught Charlize Theron, Brad Pitt, Elisabeth Shue, Djimon Hounsou, and Halle Berry, The Power of the Actor guides you to dynamic and effective results. For many of today’s major talents, the Chubbuck Technique is the leading edge of acting for the twenty-first century. Ivana Chubbuck has developed a curriculum that takes the theories of the acting masters, such as Stanislavski, Meisner, and Hagen, to the next step by utilizing inner pain and emotions, not as an end in itself, but rather as a way to drive and win a goal.
In addition to the powerful twelve-step process, the book takes well-known scripts, both classic and contemporary, and demonstrates how to precisely apply Chubbuck’s script-analysis process. The Power of the Actor is filled with fascinating and inspiring behind-the-scenes accounts of how noted actors have mastered their craft and have accomplished success in such a difficult and competitive field.
For twenty years, these new demands have created additional educational imperatives. Public accountability has become more intensive and extensive. Practitioners practice in climates more subject to scrutiny and less forgiving of error. The contexts in which professionals practice and learn have changed and these changes involve global issues and problems. Often, professionals are the first responders who are required to take an active stance in defining and solving problems.
This book explores the pedagogic implications of these challenges internationally for a wide range of professions which include: accountants, military company commanders, surgeons, nurse practitioners, academic, managers, community physicians and dentists. The established view of professional development is about what the professional knows and can do. The authors broaden this view to include the systemic and contextual factors that affect learning, and the conditions necessary for effective practice and identity development across the professional lifespan.
Authors examine the unique particularities and requirements of diverse professional groups. The editors emphasize new ideas and learning that emerges across the professions. As readers use this book as a pathway to their own innovations in scholarship and pedagogic research, they join their colleagues in supportingnew directions in learning, teaching and assessment across professions.
This book was awarded the ‘Outstanding Research Publication award’ for 2012 by the American Educational Research Association’s Division I: ‘Education in the Professions’.