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The Playwrights Speak
Eleven outspoken in-depth interviews with Albee, Ionesco, Arden, Wesker, Osborne, Inge, Durrenmatt, Williams, Weiss, Pinter, and Miller.
The Playwright's Purpose
"This stirring monograph is about the means which playwrights who desire to create change in the world can implement their purpose. Lerner argues that the most potent tool to profoundly mobilize an audience is the catharsis, which he explores and redefines here in a revolutionary way, clarifying the basic Aristotelian principles as to how a playwright might create it."--Publisher's description
The Playwright's Manifesto
"Too many playwrights have forgotten how to write with a genuinely theatrical voice, or perhaps they never learned? Since the advent of naturalism in the late 19th century, the focus of playwriting has been on representing a realistic view of human life to the extent that theatrical metaphor and symbol and gesture have got somewhat lost along the way. Today, a playwright is often more concerned with the inner, intra, and outer psychological conflicts of their characters than they are about the vast array of theatrical techniques at their disposal. They are obsessed with real people and real situations, instead of telling their stories in glorious three-dimensional theatricality. This book is...
Playwriting
The incidence of melanoma has increased by 2000% since 1930 and one person dies each hour from the disease. This cutting edge guide provides scientifically accurate information which patients and their families need, to understand melanoma and its treatment and to receive necessary reassurance. It is also a vitally important resource for those who want information about preventing the disease or finding it early when it is most curable. Catherine M. Poole, a melanoma survivor and melanoma patient advocate for many organisations, and Dr. DuPont Guerry, an internationally renowned melanoma expert, have collaborated to provide current, correct and easily understood information on the disease. The authors have had first-hand contact with a multitude of patients with melanoma, and they understand exactly how to empower patients to gain control of their situations and obtain the best treatment.
The Playwright's Muse
August Wilson penned his first play after seeing a man shot to death. Horton Foote began writing plays to create parts for himself as an actor. Edward Albee faced commercial pressures to modify his scripts-and resisted. After Wit, Margaret Edson swore off playwriting altogether and decided to keep her day job as a kindergarten teacher, instead. The Playwright's Muse presents never-before-published interviews with some of the greatest names of American drama-all recent winners of the Pulitzer Prize. In these scintillating exchanges with eleven leading dramatists, we learn about their inspirations and begin to grasp how the creative process works in the mind of a writer. We learn how their first plays took shape, how it felt to read their first reviews, and what keeps them writing for theater today. Introductory essays on each playwright's life and work, written by theater artists and scholars with strong professional relationships to their subjects, provide additional insight into the writers' contributions to contemporary theater.
The Playwright's Toolbox
To an unusual degree among writers, playwrights’ creations are not simply words on a page. Instead, a well-wrought play is an intricate machine that will be used by directors, actors, designers, and other creators to bring a fully staged, real-time performance into the world. The construction and maintenance of that machine is the playwright’s job, and it requires an array of complex, interconnected skills and techniques. Enter Justin Maxwell and The Playwright’s Toolbox, a stimulating and wide-ranging resource for both beginning and experienced dramatists. It brings together invigorating, provocative, and irreverent exercises contributed by nearly 60 leading English-language playwrights, covering all stages of the writing process. It offers an accessible roadmap for those who have never written a play before, while providing new angles and solutions for seasoned writers struggling with a particular challenge. Covered here is everything fromgenerating ideas and world-building, through dialogue and plotting, to revision and the last steps before releasing a play into the world, making this an endlessly useful guide to building better plays.
Playwriting
This essential guide to the craft of playwriting, from the author of The Libertine, reveals the various invisible frameworks and mechanisms that are at the heart of each and every successful play.
The Playwright's Muse
August Wilson penned his first play after seeing a man shot to death. Horton Foote began writing plays to create parts for himself as an actor. Edward Albee faced commercial pressures to modify his scripts-and resisted. After Wit, Margaret Edson swore off playwriting altogether and decided to keep her day job as a kindergarten teacher, instead. The Playwright's Muse presents never-before-published interviews with some of the greatest names of American drama-all recent winners of the Pulitzer Prize. In these scintillating exchanges with eleven leading dramatists, we learn about their inspirations and begin to grasp how the creative process works in the mind of a writer. We learn how their first plays took shape, how it felt to read their first reviews, and what keeps them writing for theater today. Introductory essays on each playwright's life and work, written by theater artists and scholars with strong professional relationships to their subjects, provide additional insight into the writers' contributions to contemporary theater.
The Playwright's Workbook
(Applause Books). A series of 13 written workshops covering: conflict and character: the dominant image: Tennessee Williams and Arthur Miller; Overheard voices: Ibsen and Shakespeare; The solo performance piece: listening for stories; Terror and vulnerability: Ionesco; The point of absurdity: creating without possessing: Pinter and Beckett; and much more.
The Playwrights' Kaleidoscope
Free from the restraints of the structure, convention, and assumptions of realistic drama, these works show us characters with complex proven identities. Theatre in these works is not a slick metaphor for illusion. A theater is the mirror of role-playing and stereotyping gay men experience everyday. It reflects in complex and multinucleate identities of people who have created their affirming persona. These plays can not solve the problems of heterosexism or AIDS, but it can offer a liberating vision of what it means to be gay. The works and story line is what the playwright wishes to convey on the audience as a whole by helping to cause the audience or reader to be moved with thought provoking means to stir the mind to think about this side of life. Wesley L. Crane WE ARE ARTISTS IN A VERGE OF A MADCAP WITH ARTS IN GENERAL Milton Ferreira Verderi Any placetwo people...one speaks, one listensThis is theatre at its most essential, whither gathered around a campfire to tell stories century ago or gathered around the electric light of the most modern play house, it is theatre is all its form and beauty.
