The Performing Life

The author draws on personal experience to explore how singers survive in the face of personal and professional pressures, exorbitant expectations, illness, and public demands. She details factors that can change the course of a particular performance or an entire career. This book looks at the need for extensive preparation, discovering performance niche, acquiring mentors, determinging maintenance levels, finding a support system, and grooming the body and mind. In addition, the text discusses matters of personal health for singers: illness, food allergies, insomnia; as well as challenges presented in recording studios and performance venues. This book oulines advice for singers to bolster themselves mentally, physically, and emotionally in order to maintain their powers of performance.

From 1974 to 1994, Ron Vawter was a staple of New York's downtown theater scene, first with the Performance Group and later as a founding member of the Wooster Group. Ron Vawter's Life in Performance is the first book focused on this incomparable actor's specific contributions to ensemble theater, while also covering his solo projects. Through a combination of archival research and oral testimony--including interviews with Willem Dafoe, Spalding Gray, Elizabeth LeCompte, Gregory Mehrten, Richard Schechner, and Marianne Weems--Vawter emerges as an unsung innovator whose metamorphosis from soldier to avant-garde star was hardly accidental. Theresa Smalec reconstructs Vawter's years in amateur theater, his time in the National Guard, and his professional body of work. Partly recuperative history, Ron Vawter's Life in Performance explores the complex intersections of individual and group biography. It also offers a unique perspective on an era that spanned from the Vietnam War to the AIDS crisis, putting Vawter's own activism at the forefront. This volume's broad historical and cultural reach, coupled with its careful study of a beloved yet enigmatic performer, will make it a tremendous resource for theater scholars and practitioners.

The collection of plays in this book is not only entertaining but also offers valuable life lessons. Whether you're a parent, teacher, or individual seeking personal growth and reflection, this book has something for everyone. With exercises and questions to enhance understanding, this book is a valuable tool for imparting moral lessons and inspiring personal growth.

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.

Ethics is, in an important sense, a matter of ‘being good’ but it is also a question about how to live a ‘good life’. This book's emphasis on the theatrical and performative and their relationship to ethics, highlights that being good is, a matter of acting good and that acting good is a question of performing (or not-performing) certain roles and duties. This book surveys the most recent work in the field of ethics and performance, organizing this research through the metaphor of ‘the good life’. Each chapter explores a question about what it means to ‘act good’ at a different point in life and thus the book moves from natality to fatality, and beyond in its meditation on the relationship between performance and life itself. In this, it offers an important contribution to the contemporary debate about the relationship between ethics, theatre and performance studies.

We want to live good lives, but determining what a good life is isn't easy, especially if we want the lives we lead to be ours, rather than somebody else's. Tom Kennedy helps us see why it is hard to find our way when it comes to living well and what we can do about that. Finding our way requires knowing who we are, understanding ourselves, and Christians, because of their experience with God, will understand themselves differently than others in at least some ways. Kennedy explores that understanding and discovers that Christian encounters with God lead to beliefs about God, human nature, forgiveness, values, and loving well that have important implications for what we do and feel, for how we should live. In clear and familiar language, and with probing questions, he helps us think more carefully, and deeply, about our identities and what it should look like for us to live well.

Finalist for the Governor General’s Award and the Commonwealth Writers’ Prize for Best First Book (Canada and Caribbean region) A Globe and Mail Notable Book of the Year For years, Toronto stage actor Norman Bray has renounced all responsibility in the name of his “art.” Now, middle-aged, teetering on the edge of financial ruin, and clinging to the faded light of his career, Norman must answer to the bank, to the adult children of his recently deceased common-law wife, and, most of all, to his own illusions about himself. Making matters worse, Amy, his stepdaughter-of-a-sort, discovers her late mother’s journals and the unhappiness they contain. Meanwhile, Norman finds himself embroiled in the affairs of an attractive neighbour, with unexpected consequences. Highly original, skewering, hilarious, humane, Trevor Cole’s brilliant debut looks at the precarious ties of love and family and the plight of a man who has reached the end of the line — and has only himself to blame.