Call Back

Spirituality has consistently been present in the political and cultural counternarratives of Chicanx literature. Calling the Soul Back focuses on the embodied aspects of a spirituality integrating body, mind, and soul. Centering the relationship between embodiment and literary narrative, Christina Garcia Lopez shows narrative as healing work through which writers and readers ritually call back the soul—one’s unique immaterial essence—into union with the body, counteracting the wounding fragmentation that emerged out of colonization and imperialism. These readings feature both underanalyzed and more popular works by pivotal writers such as Gloria Anzaldúa, Sandra Cisneros, and Rudolfo Anaya, in addition to works by less commonly acknowledged authors. Calling the Soul Back explores the spiritual and ancestral knowledge offered in narratives of bodies in trauma, bodies engaged in ritual, grieving bodies, bodies immersed in and becoming part of nature, and dreaming bodies. Reading across narrative nonfiction, performative monologue, short fiction, fables, illustrated children’s books, and a novel, Garcia Lopez asks how these narratives draw on the embodied intersections of ways of knowing and being to shift readers’ consciousness regarding relationships to space, time, and natural environments. Using an interdisciplinary approach, Calling the Soul Back draws on literary and Chicanx studies scholars as well as those in religious studies, feminist studies, sociology, environmental studies, philosophy, and Indigenous studies, to reveal narrative’s healing potential to bring the soul into balance with the body and mind.

Actors are always waiting for the callback. Leona Shay isn’t looking for love. Having just gone through a divorce from her high school sweetheart, her world is in upheaval. And things are about to get even crazier after selling the movie rights to her series. Rising movie star, Luke Chance, could have anyone he wants, but he wants an author who may not be ready for him or anything that comes with being with him. Luke wants a role in the movie. Leona can’t see him as the lead, not that she has a say in the cast. Their first encounter may be rocky, but he’s not going to let her slip away. Trust doesn’t come easy for Leona. Tabloids and distance may send her running. How far is Luke willing to chase?

All great auditions require preparation and practice, but what’s the secret to securing a callback? What are the best ways to prepare for that pivotal moment? And once you’re in front of the casting director, what does it take to make the most out of your moment in the spotlight? In this second edition of Get the Callback: The Art of Auditioning for Musical Theatre, Jonathan Flom provides practical advice on the many facets of preparation, including selection of songs and monologues to suit your voice and the audition, organizing and arranging your music, working with the accompanist, and presenting yourself to the casting team. The book gives a detailed description of the actual audition performance and even offers advice on how non-dancers can survive a dance audition. In addition to extensively revised chapters on the audition process and how to build a repertoire book, this guide also features updated chapters on headshots, resumes, and cover letters; voice training techniques from Matthew Edward; advice from musical director Joey Chancey; and a foreword by casting director Joy Dewing. Aimed at professionals as well as young artists, this second edition of Get the Callback is a must-have for both seasoned and aspiring musical theatre performers.

An actress and a director recount their forty-year mostly professional relationship.

Bunheads meets The Kicks in this second novel in a middle grade trilogy from New York Times bestselling author, dancer, model, and actress Maddie Ziegler! After a successful first competition, twelve-year-old Harper is eager to keep on making her mark in Dance Starz. But lately, she’s having a bit of “dancer’s block.” In her one-on-one with her teacher, Harper is reminded that dancing isn’t just about the spins and leaps; it’s about the emotion and passion for dancing, too. And lately, she hasn’t felt that Harper has been living up to her usual standards. Vanessa will be choosing the first soloist to compete at the next competition for the team, and suggests to Harper that she find a way to figure out how to get that mojo back. Thanks to a chance conversation, Harper joins the school musical. Not only is this an opportunity to polish up her stage presence, but as the newbie at school, Harper is excited to make some more friends. But some of the teammates are not thrilled that Harper is doing something besides the dance team. Plus, their biggest rivals, the Belles, are looking to go toe-to-toe with them in the upcoming competition—and both teams have something to prove. Harper realizes that the musical, dance team, and school might be a little much. Can she figure out how to find her balance—on-stage and off?