A comprehensive manual for acting and theater, discussing improvisation, voice projection, breathing exercises, script analysis, and technical aspects of theater production.

Forword -- Break a leg! -- Whistling -- Don't wear green onstage -- More colorful traditions -- Cats -- Candles & curtains -- Peacock-a-mamie -- Mirror begone! -- Flowers, jewelry, thread -- Bas dress, good show -- Opening night! -- Make up -- How many actors does it take -- 10 things that bring good luck -- 18 things that bring not-so-good-luck -- Actors on acting (1) -- Why is it called "the green room"? -- The ghost light -- The gypsy robe -- How many stage managers does it take -- Don't quote the Scottish play! -- St. Genesius and other saintly aids to actors -- "You ... you thespian!"--Those happy-sad theatre masks -- On Broadway -- Who the heck is Walter Plinge? -- The number 13 -- Some unusual theatre terms -- How many playwrights does it take -- Famous actors and their superstitions -- Stage turkeys and their notorious Broadway moose -- Edmund Kean's most peculiar charm -- Theatre ghosts -- Actors on Acting (2) -- Clackers -- Odds and funds -- Acknowledgments -- The authors

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

The first book to compile all of theater's glorious bloopers--an uproarious homage to the stage Stop the Show! is the first book to assemble humorous, frightening and bizarre anecdotes about the history of all that went wrong during live theatrical productions in the U.S. and the United Kingdom. It is the publishing equivalent of TV bloopers for the legitimate stage. This book includes stories from top directors, actors, playwrights and technicians from New York, Los Angeles, and points in between, to the United Kingdom, from the 19th century to today. There are stories about missed entrances and exits, onstage unscripted fights between performers, improvised lines, accidental pratfalls, falling scenery, and costume, lighting and makeup screwups. The backstage provides sordid tales of practical jokes, treachery, misplaced props, wild arguments, and generally the kinds of things Michael Frayn created for his farce about a theatrical disaster, Noises Off. This book doesn't leave out the theatergoers either, who snore, fight with each other, talk back to the performers, search for their seats, become suddenly ill, eat, drink, make merry, and are yelled at by the performers--all of which sometimes prompts the show to stop, even though we've always been told it must go on.