Performing Arts Technical Training Handbook

Prepares trainers for the technical demands of the 21st century. Includes technical training; instructional design; group training; individualised instruction; skilled trades programmes; adult learners.

This handbook is designed for specific use by performing arts presenters and touring companies. These companies pose an immense range of production requirements and challenges to a presenter. The book stresses the basics of technical production with an emphasis on presenting dance. Dance has more inherent pitfalls in its production requirements, yet is on tour the most of any of the performing arts. The first section deals with needs and responsibilities common to both theater and dance. The second section singles out separate production aspects of each. The third section is a glossary of terms to help the presenter understand the technical language of production. Chapters include: (1) "Introduction"; (2) "Presenters and Performers"; (3) "Differences between Disciplines"; and (4)"What Does It Mean? A Glossary of Terms." Appendices offer additional information on technical riders, technical questionnaires, sample light plots, section drawing of the theater, fly system cross-section, and hanger log. (EH)

This resource is the product of nearly two decades of intensive work and careful honing of the craft by what Playbill calls 'the world's most prestigious musical theatre arts education program'. It explains the methods used by the Broadway Theatre Project to train those pursuing a career in musical theatre.

Sometimes seeing is more difficult for the student of art than believing. Taylor, in a book that has sold more than 300,000 copies since its original publication in 1957, has helped two generations of art students "learn to look." This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer. The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.