Cutting Plays For Performance

Cutting Plays for Performance offers a practical guide for cutting a wide variety of classical and modern plays. This essential text offers insight into the various reasons for cutting, methods to serve different purposes (time, audience, story), and suggests ways of communicating cuts to a production team. Dealing with every aspect of the editing process, it covers structural issues, such as plot beats, rhetorical concepts, and legal considerations, why and when to cut, how to cut with a particular goal in mind such as time constraints, audience and storytelling, and ways of communicating cuts to a production team. A set of practical worksheets to assist with the planning and execution of cuts, as well as step-by-step examples of the process from beginning to end in particular plays help to round out the full range of skills and techniques that are required when approaching this key theatre-making task. This is the first systematic guide for those who need to cut play texts. Directors, dramaturgs, and teachers at every level from students to seasoned professionals will find this an indispensable tool throughout their careers.

Play, Philosophy and Performance is a cutting-edge collection of essays exploring the philosophy of play. It showcases the most innovative, interdisciplinary work in the rapidly developing field of Play Studies. How we play, and the relation of play to the human condition, is becoming increasingly recognised as a field of scholarly inquiry as well as a significant element of social practice, public policy and socio-cultural understanding. Drawing on approaches ranging through morality and ethics, language and the nature of reality, aesthetics, digital culture and gaming, and written by an international group of emerging and established scholars, this book examines how our performance at play describes, shapes and influences our performance as human beings. This is essential reading for anybody with an interest in leisure, education, childhood, gaming, the arts, playwork or many branches of philosophical enquiry.

This unique book desribes the ways in which educational practitioners at Shakespeare's Globe theatre bring Shakespeare to life for students of all ages.The Globe approach is always active and inclusive - each student finds their own way into Shakespeare - focussing on speaking, moving and performing rather than reading. Drawing on her rich and varied experience as a teacher, Fiona Banks offers a range of examples and practical ideas teachers can take and adapt for their own lessons. The result is a stimulating and inspiring book for teachers of drama and English keen to enliven and enrich their students' experience of Shakespeare.

Every year, hundreds of thousands of people buy tickets to see Shakespeare's plays performed. No other playwright commands the kind of interest that Shakespeare does.

In 1926, radium was a miracle cure, Madame Curie an international celebrity, and luminous watches the latest rage- until the girls who painted them began to fall ill with a mysterious disease. Inspired by a true story, Radium Girls traces the efforts of Grace Fryer, a dial painter, as she fights for her day in court. Her chief adversary is her former employer, Arthur Roeder, an idealistic man who cannot bring himself to believe that the same element that shrinks tumors could have anything to do with the terrifying rash of illnesses among his employees. As the case goes on, however, Grace finds herself battling not only with the U.S. Radium Corporation, but also with her own family and friends, who fear that her campaign for justice will backfire.

Play is a vital component of the social life and well-being of both children and adults. This book examines the concept of play and considers a variety of the related philosophical issues. It also includes meta-analyses from a range of philosophers and theorists, as well as an exploration of some key applied ethical considerations. The main objective of The Philosophy of Play is to provide a richer understanding of the concept and nature of play and its relation to human life and values, and to build disciplinary and paradigmatic bridges between scholars of philosophy and scholars of play. Including specific chapters dedicated to children and play, and exploring the work of key thinkers such as Plato, Sartre, Wittgenstein, Gadamer, Deleuze and Nietzsche, this book is invaluable reading for any advanced student, researcher or practitioner with an interest in education, playwork, leisure studies, applied ethics or the philosophy of sport.

In distracted times like the present, Shakespeare too has been driven to distraction. Shakespeare | Cut considers contemporary practices of cutting up Shakespeare in stage productions, videogames, book sculptures, and YouTube postings, but it also takes the long view of how Shakespeare's texts have been cut apart in creative ways beginning in Shakespeare's own time. The book's five chapters consider cuts, cutting, and cutwork from a variety of angles: (1) as bodily experiences, (2) as essential parts of the process whereby Shakespeare and his contemporaries crafted scripts, (3) as units in perception, (4) as technologies situated at the interface between 'figure' and 'life,' and (5) as a fetish in western culture since 1900. Printed here for the first time are examples of the cut-ups that William S. Burroughs and Brion Guysin carried out with Shakespeare texts in the 1950s. Bruce R. Smith's original analysis is accompanied by twenty-four illustrations, which suggest the multiple media in which cutwork with Shakespeare has been carried out.