A Book On The Open Theatre

Madeleine Levy was diagnosed with Asperger's syndrome at the age of eight. This is a book about her life growing up and the education system as she experienced it. When she was asked by her nursery school teacher what she wanted to be when she grew up, Madeleine's reply was very different to all the other children's: she wanted to be a cat. Later she was bullied for being different - for being bi-sexual, for having autism, or just for being, as she puts it, a weird goth kid. When I Grow Up I Want to Be a Cat is not just a brilliantly frank memoir but also in part a supportive guide for youngsters with autism and their parents or carers, and in part a critique of the education system whose standardised support Madeleine found lacking. It is a book that genuinely gives the perspective from someone on the autistic spectrum - and not just Madeleine's own voice but the voices of nine other individuals with autism spectrum disorder whom she has interviewed for the book. Whatever your interest in autism or whatever your reason for reading it, When I Grow Up I Want to Be a Cat is an unforgettable read in which Madeleine addresses the highs and the lows of her life with compelling honesty, and which ultimately carries a hugely positive message for anyone who is facing struggles in life just for being different.

From King Lear to the Tragedy of Carmen," "from Marat/Sade to the epic Mahabharata, Peter Brook has reinvented modern theatre, not once but again and again. In The Open Door the visionary director and theorist offers a lucid, comprehensive exposition of the philosophy that underlies his work. It is a philosophy of paradoxes: We come to the theatre to find life, but that life must be different from the life we find outside. Actors have to prepare painstakingly yet be willing to sacrifice the results of their preparation. The director's most reliable tool may be his capacity to be bored. Brook illustrates these principles with anecdotes that span his entire career and that demonstrate his familiarity with Shakespeare, Chekhov, and the indigenous theatres of India and Iran. The result is an unparalleled look at what happens both onstage and behind the scenes, fresh in its insights and elegant in its prose. "From the Trade Paperback edition."

As playwright, actor, director, teacher, mentor, theatre administrator, and critic, Sharon Pollock has played an integral role in the shaping of Canada's national theatre tradition. This collection, comprised entirely of new and original assessments of her work and contribution to theatre, is both timely and long overdue.

Alan Read asserts that there is no split between the practice and theory of theatre, but a divide between the written and the unwritten. In this revealing book, he sets out to retrieve the theatre of spontaneity and tactics, which grows out of the experience of everyday life. It is a theatre which defines itself in terms of people and places rather than the idealised empty space of avant garde performance. Read examines the relationship between an ethics of performance, a politics of place and a poetics of the urban environment. His book is a persuasive demand for a critical theory of theatre which is as mentally supple as theatre is physically versatile.

From King Lear to the Tragedy of Carmen, from Marat/Sade to the epic Mahabharata, Peter Brook has reinvented modern theatre, not once but again and again. In The Open Door the visionary director and theorist offers a lucid, comprehensive exposition of the philosophy that underlies his work. It is a philosophy of paradoxes: We come to the theatre to find life, but that life must be different from the life we find outside. Actors have to prepare painstakingly yet be willing to sacrifice the results of their preparation. The director’s most reliable tool may be his capacity to be bored. Brook illustrates these principles with anecdotes that span his entire career and that demonstrate his familiarity with Shakespeare, Chekhov, and the indigenous theatres of India and Iran. The result is an unparalleled look at what happens both onstage and behind the scenes, fresh in its insights and elegant in its prose.

NOW A BROADWAY PLAY STARRING DANIEL RADCLIFFE 'Provocative, maddening and compulsively readable' Maggie Nelson In 2003, American essayist John D'Agata wrote a piece for Harper's about Las Vegas's alarmingly high suicide rate, after a sixteen-year-old boy had thrown himself from the top of the Stratosphere Tower. The article he delivered, 'What Happens There', was rejected by the magazine for inaccuracies. But it was soon picked up by another, who assigned it a fact checker: their fresh-faced intern, and recent Harvard graduate, Jim Fingal. What resulted from that assignment, and beyond the essay's eventual publication in the magazine, was seven years of arguments, negotiations, and revisions as D'Agata and Fingal struggled to navigate the boundaries of literary nonfiction. This book includes an early draft of D'Agata's essay, along with D'Agata and Fingal's extensive discussion around the text. The Lifespan of a Fact is a brilliant and eye-opening meditation on the relationship between 'truth' and 'accuracy', and a penetrating conversation about whether it is appropriate for a writer to substitute one for the other. 'A fascinating and dramatic power struggle over the intriguing question of what nonfiction should, or can, be' Lydia Davis