Performing Arts Books - Page 4

Performance: Richard Avedon

John Lahr, Andre Gregory, Mike Nichols, Twyla Tharp, Mitsuko Uchida

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Editorial Review:

"We all perform. It's what we do for each other all the time, deliberately or unintentionally. It's a way of telling about ourselves in the hope of being recognized as what we'd like to be."
--Richard Avedon, 1974

The preeminent stars and artists of the performing arts from the second half of the 20th century offered their greatest gifts—and, sometimes, their inner lives—to Richard Avedon. More than 200 are portrayed in Performance, many in photographs that have been rarely or never seen before. Of course, the great stars light the way: Hepburn and Chaplin, Monroe and Garland, Brando and Sinatra. But here too are the actors and comedians, pop stars and divas, musicians and dancers, artists in all mediums with public lives that were essentially performances, who stand at the pinnacle of our cultural achievement.

 

The celebrated author and critic John Lahr offers an elegant assessment of Avedon’s achievement. Four supremely talented artists from the performing arts—Mike Nichols, André Gregory, Mitsuko Uchida, and Twyla Tharp—contribute lively and moving memoirs about their collaborations with Avedon.

Anna Karenina

Helen Edmundson

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Customer Reviews:
Total reviews: 238 Average rating: 4.5 of 5

Please enter a title for your review 5 out of 5 stars.
0 of 0 people found this review helpful.

Half the content is elaborate banal detail used to establish context, but in it's more consequential moments this novel is the final word on the disingenuous nature of institutionalized aspects of social behaviour. It's a theme I've pondered and seen touched on in a few other books, but I was blown away by how comprehensively Tolstoy articulates and extrapolates my own thoughts.
This novel is primarily a work of philosophy, using the characters to illustrate social observations at the expense of a fully cohesive narrative.
It's difficult to understand how fans of classic fiction, who generally consider "reading" a neccessity for respectable people, don't take offense to this book as it seems to be constantly critcizing that kind of cultural pretense.
Another interesting thing I got from the book is how culture 100+ years ago doesn't seem as formal and conservative as I had previously been led to believe. Parents were already complaining about tradition falling out of favor among the younger generation and governmental red-tape was already something criticized as getting in the way of practical goals. On the other hand the doctors of the era are presented as having no medical knowledge whatsoever.
my fave quote:
"The word talent, which they understood to mean an innate and almost physical capacity, independent of mind and heart, and which was their term for everything an artist lives through, occurred very often in their conversation, since they required it as a name for something which they did not at all understand, but about which they wanted to talk."

Editorial Review:

Translated by Constance Garnett, Introduction by Leonard J. Kent and Nina Berberova

Mark Wilson's Complete Course in Magic

Mark Wilson

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Customer Reviews:
Total reviews: 52 Average rating: 5.0 of 5

All praise for this is justified 5 out of 5 stars.
0 of 0 people found this review helpful.

Many times applauded, this classic for teaching magic is practically unequaled. If you want to learn magic from scratch, this book is what you need.

Mark Wilson's Complete Course in Magic 5 out of 5 stars.
0 of 0 people found this review helpful.

This book is wonderful for anyone wanting to learn magic tricks. This book explains how each trick will appear to the audience and then gives very detailed instructions with drawings showing each step. I used the information in the book to teach rope tricks to a bunch of third grade cubscouts. The parents were so impressed with the tricks that they wanted to learn them too.

Editorial Review:

From one of the world's premier practitioners of classic magic, with years of experience instructing younger readers in the magical arts, comes this new revision of his complete guide to learning and performing fantastic feats of prestidigitation. Acclaimed by the Los Angeles Times as "the text that young magicians swear by," it's full of step-by-step instructions. More than 2,000 illustrations provide the know-how behind 300 techniques, from basic card tricks to advanced levitation, along with advice on planning and staging a professional-quality magic show.

Lord of the Dance

Michael Flatley

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Customer Reviews:
Total reviews: 136 Average rating: 3.5 of 5

Editorial Review:

As the spirited step dancer and international star of Riverdance, Michael Flatley shattered records, silenced doubters, revolutionized an ancient dance form, and brought joy to millions of people worldwide. After finding his calling at the age of eleven, when he was "dragged by the ears" to dance school, Michael went on to become the first American to win the World Irish Dancing Championship.

In this no-holds-barred autobiography, Michael explains what really happened backstage at Riverdance -- and why and how he launched one of the greatest show business success stories of all time, Lord of the Dance. He also discusses his life as a dancer -- the hours of rigorous training and the drama behind his controversial rise to stardom. Filled with commentary from family, friends, colleagues, and celebrities and brimming with Michael's Irish charm and good humor, this book is the very personal story of a man who has lived life to the fullest according to his own credo: Nothing is impossible.

Death of a Salesman

Arthur H. Miller

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Customer Reviews:
Total reviews: 202 Average rating: 4.0 of 5

Editorial Review:

" A contemporary classic. . . listen to this album." --The New York Times Death of a Salesman burst upon the scene in 1949, and is as fresh and meaningful today as it was when it opened on Broadway - and won the Drama Critics' Circle Award, the Tony Award and the Pulitzer Prize. As Death of a Salesman is Miller's great play, Willy Loman is Lee J. Cobb's great role. He created the part on Broadway, just as Mildred Dunnock created the role of Linda Loman. They both recreate their roles here, with an exceptional cast including Michael Tolan as Biff, Gene Williams as Happy, and in the role of Bernard - Dustin Hoffman. Arthur Miller took an active part in this production, undertaken expressly for this recording - from Miller himself recording the introduction with which the play opens to choosing the director, participating in the casting, and attending the rehearsals. Arthur Miller was born in New York City in 1915. His first theatrical success occurred in 1947 with All My Sons, which earned him the Drama Critics' Circle Award. In 1949, Death of a Salesman was given the Pulitzer Prize and Drama Critics' Circle Award. The Crucible won a Tony Award four years later. His other plays include A View From the Bridge, The Price, After the Fall, Incident at Vichy, The American Clock, Danger: Memory, The Ride Down Mt. Morgan, and Broken Glass.

A Promise to Ourselves: A Journey Through Fatherhood and Divorce

Alec Baldwin

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Customer Reviews:
Total reviews: 26 Average rating: 4.5 of 5

Editorial Review:

“I have been through some of the worst of contentious divorce litigation,” Alec Baldwin declares in A Promise to Ourselves. Using a very personal approach, he offers practical guidance to help others avoid the anguish he has endured.

An Academy and Tony Award nominee and a 2007 recipient of Golden Globe, SAG, and Television Critics Association Awards for best actor in a comedy, Alec Baldwin is one of the best-known, most successful actors in the world. His relationship with Kim Basinger, the Academy Award–winning actress, lasted nearly a decade. They have a daughter named Ireland, and for a time, theirs seemed to be the model of a successful Hollywood marriage. But in 2000 they separated and in 2002 divorced. Their split---specifically the custody battle surrounding Ireland---would be the subject of media attention for years to come.

In his own life and others’, Baldwin has seen the heavy toll that divorce can take---psychologically, emotionally, and financially. He has been extensively involved in divorce litigation, and he has witnessed the way that noncustodial parents, especially fathers, are often forced to abandon hopes of equitable rights when it comes to their children. He makes a powerful case for reexamining and changing the way divorce and child custody is decided in this country and levels a scathing attack at what he calls the “family law industry.”

When it comes to his experiences with judges, court-appointed therapists, and lawyers, Baldwin pulls no punches. He casts a light on his own divorce and the way the current family law system affected him, his ex-wife, and his daughter, as well as many other families. This is an important, informative, and deeply felt book on a contentious subject that offers hope of finding a better way.

Rosencrantz and Guildenstern Are Dead

Stoppard Tom

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Customer Reviews:
Total reviews: 82 Average rating: 4.5 of 5

A grand aimlessness 4 out of 5 stars.
0 of 1 people found this review helpful.

I first saw this as a film. It was so good that I bought the VHS version.

The characters' existential wonderings are a bit of a smack in the face. And yet, there is a certain laughing at the darkness. Call it whisteling past the graveyard.

We all know the end, but we argue against it until is it upon us. And even then. And that is what it is. In the end, aren't we all supporting characters in someone else's play?

And we all call for some direction....

grossly overrated 1 out of 5 stars.
0 of 9 people found this review helpful.

Hard to believe all the good reviews here. This is a silly little book, with no story, no coherent dialog, and no meaning. Worst of all the jokes are not funny.

Brilliant. 5 out of 5 stars.
0 of 0 people found this review helpful.

No mean to be offensive or anything, but I honestly feel that if people do not find R&G Are Dead hysterically funny and/or wonderfully ingenious, they have probably missed Stoppard's point in this play.

This play was during the age known as Theatre of the Absurd, when ridiculous plots and characters were used to overall convey themes about life and people's preposterousness. As one can see, Rosencrantz and Guildenstern are precisely such characters, as is their plight.

It should be noted that this play is a much more valuable experience for the reader if he has read Shakespeare's Hamlet previously, as it is R&G that serve a purpose in the play. However, Rosencrantz and Guildenstern are Dead was not written to enforce the thematic points of Hamlet, I simply recommend it to give readers a different perspective. And it is a wonderfully funny perspective, at that.

It is a wonderful work. I highly recommend it for those who are not too fixated on trying to find a deeper meaning with Hamlet, because that simply is not the reason for this play's existence.

Heart of Darkness (Ultimate Classics)

Joseph Conrad, Richard Thomas

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Customer Reviews:
Total reviews: 385 Average rating: 4.0 of 5

Very, Very Short and Unremarkable 3 out of 5 stars.
0 of 1 people found this review helpful.

Like most people, I was familiar with Heart of Darkness, both as an acclaimed work of literature and as the inspiration for the remarkable movie Apocolypse Now. For some reason, I recently decided to make an attempt at reading it, despite my concern that it was written at a level beyond my capacity to understand.

Upon receipt of the volume from Amazon, I was initially under the impression that I had mistakenly ordered the Cliff's Notes version of the work. I had no idea that the book was essentially a short story, easily readable in 2-3 hours.

Even more surprising, was the ease with which I was able to follow and understand the story, though admittedly written in a slightly dense prose. Perhaps this was due to having seen Apocolypse Now and being familiar with the broad outline of the story and having read other works of history on the Belgian Congo.

In any event, it was a decent story, filled with some beautifully descriptive language and imagery. I must say, however, that I was not bowled over. Steamship Captain pilots a ragged boat up the Congo, accompanied by colonial agents and support staff (cannibals and other natives) in an attempt to relieve a long stranded station agent (Kurtz) who has "gone native" and become the insane source of worship for the local natives. If you've seen Apocolypse Now, you know the story, just replace the Mekong with the Congo.

I go back to my first paragraph in which I related a concern over my ability to understand what is considered a classic work of literature. I fully understood it, but was perhaps not qualified to fully appreciate it.

Editorial Review:

Conrad's classic work tells of the conflicting drives of two men who finally come to grips with their differences--and their similarities. 2 cassettes.

Dancing shoes

Noel Streatfeild

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Customer Reviews:
Total reviews: 24 Average rating: 5.0 of 5

More charm and fun in this installment of the Shoes books 5 out of 5 stars.
1 of 1 people found this review helpful.

Dancing Shoes is a similar formula compared to Streatfeild's other books. After Rachel and Hilary's father dies, they are sent to live with their Aunt Cora, who owns a talent school and troupe. While Hilary is a very talented dancer, she wants nothing more than to have fun. Her sister, Rachel wants nothing to do with dancing, but she does want Hilary to go to the Royal Ballet School to study proper ballet, as her family and old dance teacher wished for, even though Hilary doesn't want to. So everyone, including their mean and selfish Aunt Cora, believe that Rachel is jealous of Hilary. Meanwhile, Aunt Cora's talented, and conceited, daughter now has competition with Hilary.

The book is full of the same charm as her others. While not as endearing as Ballet Shoes and Theater Shoes, maybe only due to the nastiness of Aunt Cora and how mean she is to Rachel, it is still a wonderful read. Any fans of Streatfeild's other books will surely love this book as well.

Editorial Review:

Aunt Cora is determined to turn two orphans, perky Hilary and sullen Rachel, into members of her dance troupe. But Rachel wants to keep Hilary from being one of Wintle’s Little Wonders—is it selfishness or something else? Misunderstandings and a spoiled cousin come together for a tale full of high drama. Originally published in 1957.

Hamlet (Cambridge School Shakespeare)

William Shakespeare

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Customer Reviews:
Total reviews: 154 Average rating: 4.0 of 5

To thine own self be true ... 5 out of 5 stars.
5 of 5 people found this review helpful.

NOTE: THE FOLLOWING CHIEFLY PERTAINS TO THE NEW FOLGER LIBRARY EDITION.

William Shakespeare's "Hamlet" is arguably the most famous play ever written in the English language; it presents the world with questions and characters that have been the subject of thespian and scholarly debate ever since the Prince of Denmark's first appearance on the stage of London's Globe Theatre. Probably written and first performed in 1601 (estimates vary between 1600 and 1602), the play draws on Saxo Grammaticus's late 12th/early 13th century chronicle "Gesta Danorum," which includes a popular legend with a similar plot centering around a prince named Amleth; as well as several more contemporaneous sources, primarily Francois de Belleforest's "Histoires Tragiques, Extraicts des Oeuvres Italiennes de Bandel" (1559-1580), which expands on the story told in the "Gesta Danorum," and a lost play known as the "Ur-Hamlet" (i.e., original "Hamlet"), sometimes also attributed to Shakespeare, but equally likely written by a different author a few decades earlier. Another work frequently cited in this context is 16th century playwright Thomas Kyd's "Spanish Tragedie."

Pursuant to Shakespeare's wishes and like all of his works, "Hamlet" was not immediately published, and the original manuscript did not survive. However, in the absence of copyright laws or other forms of protection of what today would be called the playwright's intellectual property rights, first bootleg copies (so-called quartos) based on transcripts made during or after performances began to appear in 1603. Yet, it would not be until 1623 - seven years after Shakespeare's 1616 death - that his former fellow actors John Hemmings and Henry Condell published 36 of his plays (including this one) in a collection known as the First Folio.

As no print version of any of Shakespeare's plays has a bona fide claim to its author's first-hand blessings, ever since the Bard's death the world is left with numerous questions about his characters' motivations and psychological makeup; first and foremost, in this particular case: who is this Prince of Denmark anyway, and what's driving him - is he a reluctant suicide or reluctant avenger? A Renaissance man? Wrecked by Freudian guilt? Genuinely mad, or merely putting on a clever act of deception? Or is he someone else entirely? - Indeed, we're even left in doubt as to what exactly it was that Shakespeare meant his characters to say, with all attendant interpretative consequences: Does the Prince wish for his "too too sullied" or his "too too solid" flesh to "melt, thaw, and resolve itself into a dew" in his first major soliloquy (Act I, Scene 2)? Does he really contemplate "the stamp of [that] one defect" which may fatally taint the perception of a man's other virtues, "be they as pure as grace," before meeting his father's ghost (I, 4)? Does Polonius, when sending Reynaldo on a spying mission after Laertes, refer to his scheme as "a fetch of wit" or "a fetch of warrant" (II, 1)? Do Hamlet's musings in "To be, or not to be" (III, 1) concern "enterprises of great pith and moment" or "of great pitch and moment," whose "currents turn awry and lose the name of action" by his doubts? Does or doesn't the sight of the Norwegian army while Hamlet is on his way to England (IV, 4) prompt him, who has so far failed to carry out his purpose, to reflect "How all occasions do inform against me," and conclude his soliloquy with the vow "from this time forth my thoughts be bloody or be nothing worth"?

How you answer any of these questions, and how you consequently view the play's characters, depends in no small part on the text you read. Like all Folger Shakespeare editions, this one is based on what the editors have deemed the "best early printed version," while allowing the reader a unique direct comparison of the principal reliable versions by including a text essentially combining these versions, with unobtrusive markers characterizing those passages appearing only in one particular version. For "Hamlet," the editors eschewed the play's very first (1603) quarto, which was possibly compiled by a journeyman actor and whose inconsistencies with all subsequent versions (textually as well as plot-wise and even regarding character names) have caused it to be generally considered a "bad" quarto, in favor of the 1604 Second Quarto, which some even believe to be based on Shakespeare's own first draft of the play and which, in any event, while more extensive than the 1623 First Folio (in turn, thought to be closest to the version(s) actually produced on the Globe Theatre stage), boasts about as secure a claim of authenticity as the latter. In some instances, the text follows the Second Quarto (Q2) without visually alerting the reader to the differences vis-a-vis the First Folio (F1), thus compelling those more used to the latter version to seek out the extensive end notes to reassure themselves that (in the examples given above) it might indeed be "solid flesh," "warrant," and "pith and moment" (F1) instead of "sullied flesh," "wit," and "pitch and moment" (Q2). In other instances, however, the First Folio's language (clearly marked as such) is given preference over that of the Second Quarto; while crucially, the text also includes all those passages *only* contained in the latter, including the "stamp of one defect" and "bloody thoughts" monologues, whose interpretation has such a direct bearing on many a reader's understanding of Hamlet's character.

The text is amplified by illustrations and annotations for those unfamiliar with 16th century English, scene-by-scene plot summaries, a short biography of Shakespeare, and introductory and concluding essays on this and the Bard's other plays and on Shakespearean theatre, as well as extensive suggestions for further reading, and a key to the play's most famous lines. While it is unlikely that after 400 years of debate any one version, be it in print, on stage or on screen, will be able to generate unanimous acceptance as the "definitive" rendition of this complex play, this is an excellent starting point for an in-depth excursion into the Prince of Denmark's world.

Also recommended:
The Oxford Shakespeare: The Complete Works 2nd Edition
BBC Shakespeare Tragedies DVD Giftbox
Olivier's Shakespeare - Criterion Collection (Hamlet / Henry V / Richard III)
William Shakespeare's Hamlet (Two-Disc Special Edition)
Grigori Kozintsev's Hamlet
Hamlet
Rosencrantz & Guildenstern Are Dead
Peter Brook's King Lear
Richard III
Julius Caesar

Editorial Review:

Modern editions of a popular and trusted series. This new edition of Hamlet is part of the established Cambridge School Shakespeare series and has been substantially updated with new and revised activities throughout. Remaining faithful to the series' active approach it treats the play as a script to be acted, explored and enjoyed. As well as the complete script of Hamlet, you will find a variety of classroom-tested activities, an eight-page colour section and an enlarged selection of notes including information on characters, performance, history and language.