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Stagecraft Fundamentals

Stagecraft Fundamentals is the only book that tackles every aspect of theatre production. The history of stagecraft, safety precautions;

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Continental Stagecraft

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Continental Stagecraft

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'The spectator and not the actor is the central focus of Brecht's stagecraft'

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Stagecraft in Euripides

In Stagecraft in Euripides, first published in 1985, Professor Michael Halleran examines certain aspects of the dramaturgy of the most;

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Stagecraft in Euripides (Routledge Revivals)

In Stagecraft in Euripides, first published in 1985, Professor Michael Halleran examines certain aspects of the dramaturgy of the most;

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Vision and Stagecraft in Sophocles

In this study, David Seale argues that Sophocles's use of stagecraft, which has thus far received little attention, was as sophisticated as;

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Stagecraft

Suitable for beginners who want to become familiar with the technical aspects of the theater. This b;...

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The Cambridge Companion to Roman Comedy

literary and comic technique as well as its stagecraft and music, and then traces the genre's influence through the centuries. Roman comedy has;

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The Cambridge Companion to Roman Comedy

literary and comic technique as well as its stagecraft and music, and then traces the genre's influence through the centuries. Roman comedy has;

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The Stagecraft of Aeschylus

clears the stage and looks for clues of Aeschylus' stagecraft in the texts of the plays themselves. He concentrates his study in an analysis;

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Acting Theory and the English Stage, 1700-1830

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Acting Theory and the English Stage, 1700-1830 Volume 1

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Acting Theory and the English Stage, 1700-1830

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Acting Theory and the English Stage, 1700-1830 Volume 3

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Acting Theory and the English Stage, 1700-1830

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Acting Theory and the English Stage, 1700-1830 Volume 2

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Acting Theory and the English Stage, 1700-1830 Volume 2

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Acting Theory and the English Stage, 1700-1830 Volume 5

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Acting Theory and the English Stage, 1700-1830 Volume 3

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Acting Theory and the English Stage, 1700-1830 Volume 5

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Acting Theory and the English Stage, 1700-1830 Volume 1

representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the;

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Rosencrantz and Guildenstern Are Dead

virtually overnight. Its wit, stagecraft and verbal verve remain as exhilarating as they were then and the play has become a contemporary classic.;

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Mehinaku

' actions highly visible and audible. Lacking privacy, the Mehinaku have become masters of stagecraft and impression management, enthusiastically;

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Miles Gloriosus

of Greek and Roman both in language and in the life portrayed, and his stagecraft, language, and meter.;

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Rosencrantz and Guildenstern are Dead

Theatre. Fifty years later, the play's wit, stagecraft and verbal verve remain as exhilarating as they were in 1967 as the two ill-fated attendant;

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Herkomer

polymath whose boundless enthusiasm led him to take an early and important interest in photography, film-making, stagecraft and motoring. Lee;

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