WRITING ABOUT THEATRE AND DRAMA covers everything from matters of style to forms of essays used in writing about theater. Beginning with a discussion of the theatrical review, the text covers the forms of essays used in writing about theatre, research, matters of style, structure, and vocabulary.

In Hamlet, when the melancholy prince kills Polonius, the dramatic tension is enhanced by the audience's knowledge that Polonius lurks behind the curtain, and that Hamlet will mistake him for his detested stepfather. Though this tension is understood and appreciated by readers of the play, its dynamics of raw intensity are perhaps best understood by the interplay between performers and audience members. By addressing both enthusiasts of theater and enthusiasts of dramatic literature, Thaiss and Davis demonstrate how one's understanding of drama is enriched by critical attention to both performance and text. It specifically addresses the writing needs of a novice playwright, not in conjunction with "writing about literature," but about the play as subject in its own right. This book provides critical analysis of play texts, as well as performance reviews, theater history research, and other examples that enliven understanding and promote versatility. In its sequence of chapters, it addresses projects of increasing sophistication, from performance reviews and play analyses to theater history research and dramatic theory papers. As a general guide to good writing, this book also promotes learning and critical/creative thought. Introductory chapters cover the principles of good writing and offer strategies to help readers overcome writer's block, organize effectively and avoid common usage and style pitfalls. Anyone interested in drama and/or literature.

Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.

"Today, more people than ever are writing about theatre, but whether you're blogging, tweeting or writing an academic essay, the challenges as a critic remain the same: how to capture a performance in words, how to express your opinions, and how to keep the reader entertained. This inspirational book shows you how to go about it and overcome these challenges." -- dust jacket

One of the world's leading children's dramatists provides a practical handbook of the skills involved in entertaining and involving audiences of children. A marvelous contribution to the world of Youth Theater...a must. —Robyn Flatt, Dallas Children's Theater. He has often been called the National Playwright for Children and he deserves it. —Cameron Mackintosh

The easy way to craft, polish, and get your play on stage Getting a play written and produced is a daunting process. From crystallizing story ideas, formatting the script, understanding the roles of the director stagecraft people, to marketing and financing your project, and incorporating professional insights on writing, there are plenty of ins and outs that every aspiring playwright needs to know. But where can you turn for guidance? Playwriting For Dummies helps any writer at any stage of the process hone their craft and create the most dramatic and effective pieces. Guides you through every process of playwriting?from soliloquies, church skits, and one act plays to big Broadway musicals Advice on moving your script to the public stage Guidance on navigating loopholes If you're an aspiring playwright looking to begin the process, or have already penned a masterpiece and need trusted advice to bring it into the spotlight, Playwriting For Dummies has you covered.

100 Essays I Don't Have Time to Write is an incisive, idiosyncratic collection on life and theater from major American playwright Sarah Ruhl. This is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life. Sarah Ruhl is a mother of three and one of America's best-known playwrights. She has written a stunningly original book of essays whose concerns range from the most minimal and personal subjects to the most encompassing matters of art and culture. The titles themselves speak to the volume's uniqueness: "On lice," "On sleeping in the theater," "On motherhood and stools (the furniture kind)," "Greek masks and Bell's palsy."