Theater for Beginners

Theatre Communications Group
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"One of the strongest directors out there—an artist committed to making us see the world for what it is." — New Yorker

With his ongoing exploration into actor behavior and an ever-innovative body of work, Richard Maxwell has written a study guide to the art of making theater. This illuminating volume provides a deeper understanding of his work, aesthetic philosophy, and process for creating theater.

Richard Maxwell is a director and playwright and the artistic director of New York City Players. Maxwell's plays have been commissioned and presented in over 20 countries. He is a Doris Duke Performing Artist. Maxwell has been selected for a Guggenheim Fellowship, two OBIE Awards, a Foundation for Contemporary Arts Grant, and he was an invited artist in the Whitney Biennial (2012). Maxwell is the recipient of the 2014 Spalding Gray Award.
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About the author

RICHARD MAXWELL, born in 1967 (Fargo), Maine East High School (Park Ridge), Studied acting at Illinois State University (Normal), Co-founder of the Cook County Theater Department (Chicago), Artistic Director of New York City Players, Resident Writer at New Dramatists, Recipient of the Guggenheim Fellowship, Obie Award and Foundation for Contemporary Arts. Plays, 1996-2000 is published by Theatre Communications Group.
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Additional Information

Publisher
Theatre Communications Group
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Published on
Feb 16, 2015
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Pages
96
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ISBN
9781559367189
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Language
English
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Genres
Performing Arts / Acting & Auditioning
Performing Arts / Theater / Direction & Production
Performing Arts / Theater / General
Performing Arts / Theater / Stagecraft & Scenography
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This content is DRM protected.
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This volume collects for the first time the work of one of America’s most important, vital and original young voices. Turning the American family drama firmly on its head, "Maxwell strips more layers of explanation from the Freudian family romance, shining light on the humiliation and fury usually reasoned out of sight by psychologizing playwrights. Few characters in contemporary drama are as exposed as Maxwell’s."—Marc Robinson, Village Voice

"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.

A New York Times Best Seller!

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.

Educators in the professions have always had unique demands placed upon them. These include the need to keep pace with rapidly evolving knowledge bases, developing skills and attitudes appropriate to practice, learning in the workplace and fostering public confidence.

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’.

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