The Art of Theatre: Then and Now (3rd Edition)
William Missouri Downs, Lou Anne Wright, Erik Ramsey
Format: PDF / Kindle (mobi) / ePub
THE ART OF THEATRE: THEN AND NOW, Third Edition, explores issues of cultural diversity and creativity, presents a full day-in-the-life of theatre, and offers comprehensive coverage of theatre history. The authors make timely and relevant connections between theatre and the familiar world of television and film to help students understand how the living art of theatre relates to and influences today's screen entertainment. For flexibility in instruction, THE ART OF THEATRE is available in two versions. This full version contains 17 chapters, six of which cover theatre history in both Western and non-Western contexts, and concludes with a chapter on "The Musical". THE ART OF THEATRE: A CONCISE INTRODUCTION features 12 chapters and a briefer treatment of theatre's history, and also features a chapter on "The Musical".
training her to be a better singer, the film studio simply dubbed in another voice. A stage actress named Marni Nixon was the real singer in that movie—she also dubbed songs for Audrey Hepburn in the movie version of My Fair Lady, for Deborah Kerr in The King and I, and even sang the phrase “These rocks don’t lose their shape” for Marilyn Monroe in Gentlemen Prefer Blondes. “Hollywood wanted recognizable stars,” Nixon said. “And the fact that a lot of the stars couldn’t sing was only a minor
Theatre performed by African Americans has been around for hundreds of years, but legitimate plays written by blacks, about blacks, and for blacks were rare until the twentieth century. Before that, black characters were mainly stereotypes written by whites and even performed by whites. (See the Spotlight “Blackface, Redface, Yellowface.”) Willis Richardson (1889–1977) was the first black playwright to have a play on Broadway that was not a musical; his play The Chip Woman’s Fortune appeared in
as a group, increasing the chances that they will be influenced by group dynamics. Theatres reason that if the people around you are enjoying the play, there is a good chance you will too. Some theatres even go so far as to paper the house. In theatre lingo, house is the auditorium, and in this case paper means tickets. So to “paper the house” means to give away a lot of free tickets to the families and friends of cast members in order to make it appear as though the performance is well attended.
will often choose which plays to produce, who will direct them, and who will design them. A director is in charge of a single play, whereas the artistic director is in charge of an entire season of plays. He or she needs to find a repertory that includes tried and true audience favorites, but he or she also needs to introduce the audience to plays they don’t know. The artistic director also manages the ensemble by making sure that all its members work together and have the same artistic goal. On
University. And thank you very much to the Cengage publishing team: Michael Rosenberg, publisher; Megan Garvey, development editor; Erin Bosco, assistant editor; Rebecca Donahue, editorial assistant; Jessica Badiner, media editor; Gurpreet Saran, marketing project manager; Aimee Bear, production project manager; Linda Helcher, art director. Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third