PAL Research Guide

Palmer clearly states that his purpose is to explain 1the ways of critics to theatre practitioners, the ways of theatre to inexperienced reviewers, and the dynamic convergence of theatre and critic to anyone interested in theatre.' . . . The work is a well-written `primer' for writers and it will be useful primarily to performers who object to unfavorable `criticsm' without understanding the nature and purpose of reviewing. Accessible to general readers and undergraduates. Choice Palmer begins with an examination of the theatrical review as a medium for informing and entertaining theatregoers, documenting events of artistic of community importance, and supporting theatre through critical evaluation and publicity. He next comments on how journalistic pressures affect reviewers. Citing brief examples from hundreds of reviews, the author devotes a chapter to each of the elements that needs to be covered in a review, including performers, script, direction, music, and choreography, together with stage and lighting design and other physical aspects of the production. The final chapter develops criteria for assessing the strengths and weaknesses of a theatrical review, based on aesthetic standards, the cultural tastes of theatregoers, and the interests of the community. Palmer's experience as both a theatre professional and a journalist gives him an intimate understanding of the antagonism that often develops between reviewers and those who feel themselves to be the target of irresponsible criticism. His book provides a clear perspective on theatrical matters and guidelines that will help to improve standards of reviewing and create an appreciation of the essential relationship between the theatre and its critics.

This book, which was originally published in 1976, is an interpretation of the thought of the major neo-classical dramatic critics in Italy, France and England during the period 1560-1770. Commentary is based in every case on a careful reading of original texts (by, for instance, Scaliger, Castelvetro, Corneille, D' Aubignac, Dryden, Johnson, Diderot, Mercier), which have been translated by the authors where necessary and are liberally quoted, and leads to the conclusion that neo-classicism found its natural fulfilment in nineteenth-century naturalism. Far from being academic, artificial, doctrinaire or rigid - pejorative terms usually applied to them - the neo-classical critics were asking fundamental questions about the nature of drama. The book attempts to 'place' a selection of early European dramatic criticism in a fresh context. It brings together a good deal of information not available elsewhere and presents it in a form which non-specialist readers will find easy to assimilate and which specialists will find stimulating as a sophisticated critical interpretation of neo-classicism.ill find stimulating as a sophisticated critical interpretation of neo-classicism.ill find stimulating as a sophisticated critical interpretation of neo-classicism.ill find stimulating as a sophisticated critical interpretation of neo-classicism.

Perfect for the student assigned to review a local production, this supplement offers students a convenient place to record their evaluation. Useful tips and suggestions of things to consider when evaluating a production are included.

In this encompassing and accessible introduction to dramaturgy, Felicia Hardison Londré promotes the dramaturgical essay as both an art form and as a method for improving creative writing skills.

There is a growing interest in 'dramaturgy' as a critical concept and as a practical process. Outlining different perspectives this book introduces both concept and practice in an accessible and engaging style. Using case studies and suggesting areas of further study, the authors provide an insight into contemporary debates and new directions

Dramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of "play making." Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multimedia to filmmaking and robotics.

Ghost Light: An Introductory Handbook for Dramaturgy offers useful and entertaining answers to the confounding questions: "What, exactly, is dramaturgy, and what does a dramaturg do?" According to Michael Mark Chemers, dramaturgs are the scientists of the theater world--their primary responsibility is to query the creative possibilities in every step of the production process, from play selection to costume design, and then research the various options and find ways to transform that knowledge into useful ideas.

"A theatre which is able to speak to each spectator in a different and penetrating language is not a fantastic idea, nor a utopia. This is the theatre for which many of us, directors and leaders of groups, trained for a long time....." - from the Introduction On Directing is Eugenio Barba's unprecedented account of his own life and work. This is a major retrospective of Barba's working methods, his practical techniques, and the life experiences which fed directly into his theatre-making. On Directing is an inspirational resource. It is a dramaturgy of dramaturgies, and a professional autobiography, from one of the most significant and influential directors and theorists working today. It provides unique insights into a philosophy and practice of directing for the beginning student, the experienced practitioner, and everyone in between.

A guide for writers at all phases of their careers - from those who have never written for the stage to those who want to grow beyond their current productions - The Playwright's Handbook helps you craft a script into a successful theatrical work and get it produced. Written by Frank Pike, an award-winning playwright, and Thomas G. Dunn, founder of the prestigious Minneapolis Playwrights Center, this guide contains the expertise of professionals actively working in the theater. Their positive, up-to-date advice is reality based, effective, and tells you up front how to make money with your talent.

This is a practical introduction to the basic principles, structures and processes of writing plays. Beginning with simple concepts and exercises, this book gradually builds in complexity, until the reader is writing his or her one act play. Writing plays is unique because feedback, alternative approaches and discussion spur creativity. This book encourages this and thereby encourages the reader to write. The reader will discover how stage plays differ from screenplays, novels and television. The book also describes how autobiographical materials are transformed into playable parts, and how characters are moved by action. `Playwriting: The first workshop' gives readers the necessary background to begin working on their first play.

From "story" and "tension" right down to how to get a character from one side of the stage to the other, Hatcher, an award-winning playwright, conveys his expertise and love of the theater in an intelligent, engaging style.-- fourteen essential elements found in every good play, with examples from historical and contemporary theater-- a step-by-step walk through the classic play Hedda Gabler, showing good playwriting elements in action-- interviews with playwrights Marsha Norman, Jose Rivera and Lee Blessing offer practical advice and personal insight on distinct approaches to the craft-- a wide range of exercises increase the readers' mastery of the elements of playwriting

A classic guide to dramatic writing now revised and expanded for a new generation of playwrights and screenwriters