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Theatrical scene design is one of the most beautiful, varied, and lively art forms. Yet there are relatively few books on the subject, and almost none for a general audience that combine expansive scholarship with lavish design. Making the Scene offers an unprecedented survey of the evolving context, theory, and practice of scene design from ancient Greek times to the present, coauthored by the world's best-known authority on the subject and enhanced by three hundred full-color illustrations.

Individual chapters of the book focus on Greece, Rome, Medieval Europe (including liturgical drama, street pageants, festival outdoor drama, Spanish religious drama, and royal entries), the Italian Renaissance, eighteenth-century Europe, Classicism to Romanticism, Realism and Naturalism, Modernism, and contemporary scene design. Making the Scene's authors review everything from the effects of social status on theatre design to the sea changes between Classicism, Romanticism, and Naturalism and the influence of perspective-based thought. Particularly intriguing is their rediscovery of lost tricks and techniques, from the classical deus ex machina and special effects in coliseums to medieval roving stage wagons and the floating ships of the Renaissance to the computerized practices of today's theatres. Such ingenious techniques, interwoven with the sweeping beauty of scene design through the ages, combine with the keen scholarship of Oscar Brockett and Margaret Mitchell to create a book as involving as the art it showcases.

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Fascinating, richly illustrated volume provides a wealth of historical data about 74 of Manhattan’s great theatrical houses—both vanished and still extant. Extensive, detailed captions document location, architects, opening date, other data for the Fifth Avenue Theatre (1873), the oldest of the buildings; theHippodrome (1905), promoted in its day as the world’s largest theatre; the Music Box Theatre (1921), one of the loveliest and most successful playhouses still in operation; as well as the New Amsterdam, Winter Garden, Ziegfeld, Ethel Barrymore, many more. Over 200 photos and illus.
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Customer Reviews (4)

An Architectural Digest of Current/Former NY Theaters
What a terrific book! I kept me mezmorized the entire time. I remember as a child many of the theaters that have been knocked down years ago. Some current theaters are constantly renamed, so you really need to know location to fully appreciate knowing facts and details of each. The photography is of excellent quality.

New York theaters 1873-1932
William Morrison's book covers 74 theaters from 1873 to 1932, including those demolished as well as those still standing. Most theaters get two pages of coverage, consisting mostly of b&w photos of both the exterior and interior. The accompanying text emphasizes noteworthy performances. This book is a nice overview of the topic, although I preferred van Hoogstraten's "Lost Broadway Theaters," which gives more information about the interior layouts, but doesn't cover theaters that are still standing.

Great photo tour,suffers from omissions, errors & redundancy
This book serves as a great photo album of the many legitimate theatres, which were constructed over the last century in New York. The style of this book is almost identical to Nicholas Van Hoogstraten's LOST BROAWAY THEATRES, which makes me question its necessity (some of the photos are duplicated). However, Morrison's book has some omissions that I feel are inexcusable. Two major theatres are missing: The CENTRAL, Broadway and 47th St and The ASTOR, Broadway and 45th ST, along with several minor ones. Also there are some errors in text such as when Morrison claims the ERLANGER became the ST JAMES in 1951, in fact the name change was decades earlier. Another error occurs when Morrison states the HOLLYWOOD (later HELLINGER) sealed its Broadway entrance in 1934, this actually occurred when the house went "legit" during late 40s. Never mentioned in any of these books is the PICADILLY (later WARNER, where sound movie were introduced in 1926) and COLUMBIA (later MAYFAIR and DEMILLE) Theatres, which started as stage houses but spent most of their existence as movie houses. I do not understand the continued emphasis being placed on NY's Broadway theaters without ever giving the great Times Square movie palaces (ROXY, PARAMOUNT, CAPITOL, etc) their due. Because of their vast size and popularity, the movie palaces, attracted more people to the Times Square area than the legitimate stage can ever hope to. New York's movie palaces were the largest, most expensive and arguably the finest ever built and I feel it's about time their place in Times Square's history is properly acknowledged. BROADWAY THEATRES by William Morrison offers a fine overview of its topic for those who are marginally interested. But for others expecting more insight and accuracy, Morrison's book should only be used as a starting point.

Well-written, comprehensive overview of undercovered subject
Ever sat in a Braodway theater and wondered about the history of the place and what shows had played there before? This book tells you. I took it withme on a recent trip to New York and discovered that one of the buildings inwhich I was doing business (The Hippodrome) was built on the site of thelate Hippodrome theatre, where many spectacular productions, includingBilly Rose's Jumbo, where staged. Morrison obviously is an expert in boththeatrical history and architecture, making his essays on the individualtheatres informative and lively. The play is what we go to see, but thehouse in which it's staged is often critical to a play's success--asMorrison demonstrates on page after page. Broadway Theatres: History andArchitecture has made a great addition to my theatrical library. ... Read more

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Plays keep the audiences coming and going with the eternal ebb and flow of their constant search for truth and knowledge, excitement, and emotional fulfillment.
Plays keep the theatre alive. Broadway successes and flops, the great works of major playwrights and lesser work of minor playwrights, published and unpublished work of student playwrights are all fuel for the theatre.
The importance of speech and the theatre at Muskingum College can be traced to its earliest beginnings.
In 1837, Muskingum College was founded by ministers and devout congregations for the purpose of educating ministers. Every president of the college in the nineteenth century was a minister.
The theatre at Muskingum grew out of the elocutionary movement, which later appeared as speech and theatre. The close relationship of the ministry and elocution, combined with the Scotch-Irish love of education, made clear the love-hate relationship between the Presbyterians and the theatre.
The church's complaint against the theatre was about the tawdry moral character of the professional theatre and its practitioners.
Theatre for educational purposes in schools was an entirely different matter!
Dr. Hill's extensive research and attention to detail in this book make it an invaluable resource for any student of theatre or speech, or theatre historian. A precise and complete history of elocution at Muskingum starts with 1837 and covers early rhetorical practices, literary societies, and the Elocution Movement, with excellent information about early great authors and teachers such as Thomas Sheridan, John Walker, William Russell, James E. Murdoch, and Francois Delsarte, to name only a few.
The author describes his experiences while on several sabbaticals, in many places and with many interesting theatre personalities. The Shakespeare enthusiast will thoroughly enjoy the author's involvement with various famous Shakespearean festivals, and his insight into, and special affection for, staging many of The Bard's plays.
Decade by decade, Dr. Hill details the events in theatre throughout his 36 years at Muskingum, including the plays produced, brief synopses of the important plays, glimpses into the lives of the playwrights themselves, and complete cast lists. Wonderful photographs of various productions are scattered liberally throughout the book, with a beautiful full-color gallery section depicting posters and artwork by William Blakesley and Chab Guthrie.
For a book of this scope, reference material is a must-and the author has provided the bricks and mortar that make up the foundation for his subject: a complete production history from 1944-2000, lists of faculty, guest directors, and designers, theatre seminars, and a complete index.
For anyone who loves the theatre and its charisma, this book is about - Mostly Theatre. ... Read more

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It's finally happened. Boots for industry presents: the only book you'll Ever need about the past/present/future masters of American satire. The utterly futile yet complete history of The Firesign Theatre and its complete recording history is bundled together in one too-large book! ... Read more

Customer Reviews (5)

Flimsy burnoose
This is a sometimes-interesting book sadly in need of an editor. Denise Levertov is spelled "Lebertoff." Susan Anspach is spelled "Onspock." Iolanthe is spelled "Ialanthy." The book contains many other errors and incorrect references. And since Catherwood says, "Forward into the past," shouldn't the book title be "Backward Into the Future?" Dr. Firesign would never allow this inconsistent parallel construction.

"MORE SUGAR!!!!!!!!!!!!!!!"
Ah....the glories of food....the communication of communions....Ethel and Rosenberg are passing among you now.......hee hee ha ha ha ho ho....etc. etec.ect.....you all know the rest....Ad Nauseum.Your welcome.I am over the age of reason,aquarius.

A Show that's almost a Cult Favorite
For about ten years beginning in 1966 a group of four actors (Phil Austin, Peter Bergman, David Ossman, and Philip Proctor) put together a comedy troupe. They first performed on radio station KPPC in Los Angeles. They have been called the American Monty Python. The tone of their show was much the same. The subject matter that included a lot of political commentary (Viet Nam was just getting started about this time), and a generally manic performance.

This book is a nostalgic look at the group formed by a series of recent interviews with the actors who were also the writers. To those who loved the show, it's the best story from behind the scenes. To whose who never heard of the show, here's how a show was put together that has generated a legion of fans who have remained loyal over forty years.

"Hmmmm. This photograph doesn't look a bit like you now, does it sir?"
Nice to finally see a book all about the 4 or 5 crazy guys & their myriad works. A wealth of information, some great interviews & interesting bits & pieces about the troupe. Unfortunately I found the photos in the book to be quite poor in quality. I can only assume it was budget concerns that led to the poor photo reproductions the book offers. Would have been nice to have had glossy pics & some color pics as well. Still a nice tome about the wonderfully funny, surreal & revolutionary Firesign Theatre.

A Firesign Feast
Fred Weibel's Backwards Into the Future is a feast of interviews with the comic legends, The Firesign Theatre. Their albums are so full of minutae that a book like this has long been necessary for their many past, present and future fans. I've been following this group since they first appeared on LA radio in 1966, and reading this book was like hearing them for the first time. The accompanying CD has a list of all their recorded work (Did the Beatles record as much? The Firesigns wanted to be the Beatles of comedy, and unlike the lads from Liverpool, they're all still alive and joking) that will sure make my collecting easier. Fred's writing sometimes even sounds like the Firesign, which may or may not be a coincidence. Although the lads have been interviwed many times over the years, having all this information in one place is a great service. Table all set now? Then, Let's Eat! ... Read more

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One of the most colorful breed of men in 19th-century circusdom was the press agent, whose duty was to act as "an umpire between the show and the newspapers," and promote his company's greatness in order to generate public interest in advance of the performances. Charles H. Day, one of the leading "puffers" of his time, was particularly active between 1872-87, but unlike many of his colleagues, was also published widely in the entertainment newspapers and magazines. William L. Slout has collected together the best of Day's colorful and evocative essays of 19th-century circus life, and has also added a helpful Circus Personnel Reference Roster, notes, and detailed index. ... Read more

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Combining authoritative writing with superb illustration, The Cambridge Illustrated History of British Theatre is a fascinating exploration of the development of the live performing arts in Britain from the earliest times to the present day. Taking a broad view of theater, the book covers everything from the minor and "illegitimate" to the mainstream and "official"--whether the mystery plays of the Middle Ages or the "real time drama" of Coronation Street, the courtly theater of Shakespeare or the contemporary "fringe." The book is aimed at both students and general readers.Simon Trussler is a retired drama professor at the University of London and the editor of New Theatre Quarterly. ... Read more

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Never HIGHLIGHT a Book Again!Virtually all testable terms, concepts, persons, places, and events are included. Cram101 Textbook Outlines gives all of the outlines, highlights, notes for your textbook with optional online practice tests. Only Cram101 Out ... Read more

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Simply Amazing
This book explores the wonderful techniques of Tadashi Suzuki, who often works hand in hand with Anne Bogart.The book is a spiritual and magical take on acting, concentrating on the actor's body and mind rather thanhis/her lines and blocking.It is a refreshing and challenging techniquethat is beautifully and simply explained in this book.Complete withpictures of the artist himself, the book is a wonderful way to get yourfeet wet in the Suzuki/Bogart technique. ... Read more

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692 pages. ... Read more

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Offering a comprehensive account of a long and varied chronicle, this history of theater in Africa is comprised of essays written by scholars in the field. The coverage is geographically broad and includes an examination of the concepts of "history" and "theater" in Africa; North Africa; Francophone theatre; Anglophone West Africa; East Africa; Southern Africa; Lusophone African theatre; Mauritius and Reunion; as well as the African diaspora. ... Read more

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Written by one of American theater's most avid and knowledgeable proponents, No Legs, No Jokes, No Chance traces the American musical from its rich and varied beginnings in European opera, American minstrel shows, and vaudeville through its many permutations to its current state--from, as Sheldon Patinkin puts it, La Boheme to Rent. Minstrelsy, burlesque, revue, dance, and choreographers, the of musical theater so often overlooked by its historians, finally receive due consideration in this thorough and thoroughly entertaining book about how American musical theater came to be and developed into what it is today.

Patinkin writes about the infancy of the musical--the revues, operettas, and early musical comedies, as well as the groundbreaking shows like Oklahoma!, and Show Boat that brought the form to its golden age during World War II. With insightful references to how history, literature, theater, fashion, popular music, and movies influenced musical theater generally and certain shows in particular, he traces a direct lineage from older forms to contemporary musicals. The result is a broad, clear, and detailed picture of American musicals within both an aesthetic and a historical context. Patinkin conveys the pleasure of the ever-changing forms of musical theater even as he gives readers the analytical tools and terms to understand and better appreciate this uniquely American art. The book features a selection of black and white photographs from historical musical productions, and each chapter includes suggestions for materials to watch and listen to at home or in the classroom. ... Read more

Customer Reviews (4)

PROOFREAD- WHAT EVER HAPPENED TO EDITORS?
On page 416, Mr P writes that in 1971, writer Sam Spewack, producer Leland Hayward and funny girl Fanny Brice died.I am not sure of the exact date, but its a well documented fact that Ms. Brice died about 20 years before 1971.

On page 429, he writes that Tony Curtis sang and danced for the first time in his career in a tour of Some Like it Hot, but in 1954, Mr. Curtis sang and danced in So this is Paris.A musical.

Then toward the end, he seems a bit rushed while discussing the 2006-2007 season.He wrote that the Color Purple lost the Tony to The Drowsy Chaperone.But The Color Purple WASNT nominated for Best Musical and The Drowsy Chaperone lost the Tony to Jersey Boys

I hesitate to buy books anymore because of this growing trend of inaccuracies, misspelled words, etc.

a great introduction to the field, and then some
Sheldon Patinkin has long been one of the key figures in the Chicago theatre movement.Half the people you've heard of who've come out of Chicago have worked with him in one way or another (many at Steppenwolf and Second City), including the multitude of students at Columbia College where he taught a course in musical theatre history that is the basis of this enormously useful book.As one would expect, there are paragraphs on the key works.But the material that I find particularly useful describes the social and historical context out of which these works arose.

The book that every Mus Th. Major should Own
Ok, so there are a few errors...HOWEVER, it is the most usable text out there for a course in the history of the American Musical Theater.My only gripe is that Mr. Patinkin (or perhaps his editors) become very lazy on years (such as letting the reader consistently know exactly what year a show was produced).If a CD could be made at an inexpensive price (yeah, right) to go along with this, it would be yet better.Terrific item.

An Opus...
If you ever had a question about something related to the world of musical theatre the answer can be found in this little book.Actually, its not a little book at all but that is because Sheldon Patinkin goes into such historical depth which allows the reader to fully understand the importance of the subject matter.This book is a must read for musical theatre buffs as well as students interested in music.As a special education teacher I plan on using some of the valuable historical world facts found in No Jokes, No Legs, No Chance with my students as a means of furthering their understanding of how America developed. ... Read more

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Shaman Versus Showman
The basic tricks and techniques of magic have not changed over the centuries.Emerging from locked boxes, pulling objects from manifestly empty containers, and so on, can be found in descriptions and magic manuals from the seventeenth century, and legend has it that even if Ancient Egyptian magicians were not sawing a woman in half, they were capable of decapitating geese and restoring their heads to them.They probably did the "cup and balls" trick, too, making a ball show up under a cup where it could not have been or disappearing from under a cup where it just had to be.The shows may have been the same, but what people made of them differed through the ages.Saw a woman in half a few centuries ago and you risked being tried for black magic, for instance, even if it was "just a trick".The conjurer pretends, and the audience helps him get away with it, that he has special powers.In a famous definition by illusionist Robert-Houdin, a conjurer is "an actor playing the part of a magician".The role is of a sorcerer with capacities that defy logic and physics, when of course the conjurer is just playing with the minds of the audience.The boundaries of performance that challenge the spectator's sense of reality, and the changes of those boundaries over time, are the subject of an erudite study by Michael Mangan, _Performing Dark Arts: A Cultural History of Conjuring_ (Intellect).You may get hints of how magicians do some of their tricks from this book; if they have been around for millennia, it's to be expected that some of the secrets would slip out.That's not Mangan's point.This is more a study of such tricks as staged illusions in comparison with the "real" spells and black magic that wizards are supposed to be able to do.General opinion has recently gone against such wizardry, but it is still playing a role.

In the Bible's most famous account of magicians at work, Moses and Aaron go up against the Egyptian magicians, a duel that involves turning staffs into snakes.Both sides would have wanted to have been seen as working real miracles, but by the time of the Renaissance, the Egyptians in the story were held to be mere tricksters, and a Victorian account says that the same trick was still being done in Cairo, with actual serpents hypnotized into rod-like stiffness, to resume snake-life when thrown upon the ground.Moses and Aaron, however, where held to have used the _real_ magic, the kind that comes from the real God.Religion constantly is mixed with stage magic through the centuries.Magical transformations were held to be the product of human alliance with "The Father of Lies", the devil himself.Unfortunately, once Protestantism took hold, churchmen such as Calvin could maintain that the transubstantiation of the Eucharist was merely a play at a magical incantation and transformation.

The "shaman / showman" dichotomy has not left us.There are still those who insist that their illusions are products of the supernatural.In the twentieth century, Sir Arthur Conan Doyle, creator of Sherlock Holmes, was one of the many believers in spiritualism.He was tricked over and over by blatant phonies, and he insisted that his one-time friend Houdini was performing by means of supernatural aid, although Houdini disavowed such practices and famously campaigned against spiritualism.Mangan admits, however, that in believing in spirits and spiritualists, Doyle was merely on the side of such lights as Marconi, Edison, and Tesla.The descendants of spiritualists, those who can channel ancient personalities or those who can in front of an audience make it seem as if they are getting messages from departed relatives, continue to earn their livings from insisting that these are supernatural effects rather than the well-known practice of "cold reading" that stage mentalists can perform.Uri Geller claims he is not bending spoons the way other magicians bend spoons, the way that James Randi bends spoons.Randi takes the role of Enlightenment rationalist, effectively debunking Geller's claims (he also takes on the modern day spiritualists).After all, if Geller is really bending by supernatural means, then modern physics and chemistry will have to be rewritten.Geller's bending spoons, though, and his "I am really doing this without any trickery" stance have transformed a performer of a simple trick into an international celebrity, which as Mangan writes, is "one of the most powerful forms of twentieth-century metamorphosis."There are magicians like Penn and Teller who deliberately call attention to the artificial nature of their tricks, even demonstrating on stage how some are performed, and put on a good show for all that.Conjurers as performers have always had a special niche in exploiting the marvelous or the uncanny and trading upon our hope or fantasy that some real magic may be at work.Mangan's delightful book shows that they will always be able to do so.
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A sweeping illustrated history of the art of Western dramatic performance, covering more than 300 playwrights and 2,000 plays. With a Foreword by Kenneth Branagh. ... Read more

Customer Reviews (1)

Study Guide
I have a degree in drama lit from NYU, but after 20 years, needed a refresher to take teaching exam.This helped me pass it.Great, clear book. ... Read more