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Video
1 online resource (28 min.)
Elliot Norton interviews Lawrence Kasha and David S. Landay, producers, and Peter Stone, playwright, from the company of the new musical Woman of the Year.
Video
1 online resource (28 min.)
Elliot Norton interviews Lawrence Kasha and David S. Landay, producers, and Peter Stone, playwright, from the company of the new musical Woman of the Year.
Video
1 videodisc (114 min.) : sd., col. ; 12 in.
At the start, Giorgio, a young soldier in northern Italy, is having an affair in Milan with the beautiful Clara, who is married. He is transferred to an outpost, where he meets Fosca, the cousin of his commanding officer. Fosca, a sickly, ugly woman devastated by a brief marriage to a cad, falls in love with Giorgio and obsessively pursues him. At first, Giorgio is repulsed; then he becomes curious, then flattered. Finally, he realizes that Fosca's unconditional love is deeper than Clara's and surrenders to its power.
Media & Microtext Center
Book
207 p. : ill. ; 24 cm.
Music Library
Book
61 p. : ill. ; 20 cm.
Music Library
Book
669 pages : illustrations ; 25 cm
  • Vorwort
  • Verzeichnisse
  • Autorenverzeichnis
  • Artikelverzeichnis
  • Abkürzungen
  • Lexikonteil
  • Anhang
  • Bibliographie
  • Personenregister.
Music Library
Book
xvi, 399 p. ; 23 cm
Music Library
Book
459 p. : ill. ; 24 cm.
SAL3 (off-campus storage)

10. Candide [2004]

Video
1 online resource (117 minutes) Digital: data file.
Leonard Bernstein's brilliant comic operetta comes to dazzling new life under the guidance of director Lonny Price (A Class Act). Based on the classic Voltaire tale of an innocent young man's journey through a life filled with colorful characters and unexpected life lessons, this tune-filled frolic features Tony Award-winners Patti LuPone (Evita) and Kristin Chenoweth (from the Broadway smash Wicked) heading a dazzling cast including Paul Groves, Stanford Olsen, Sir Thomas Allen, and the Westminster Symphonic Choir. The impeccable score (with lyrics by luminaries including Lillian Hellman, Dorothy Parker, Stephen Sondheim, Richard Wilbur, and John La Touche) includes a host of delightful songs including Life Is Happiness Indeed, It Must Be So, You Were Dead, You Know, and Make Our Garden Grow. Now enjoy this all-new production that brings you the best of all possible musical worlds!
Book
445 p. : ill., music ; 25 cm.
Music Library

12. Sweeney Todd [2001]

Video
1 online resource (133 minutes) Digital: data file.
This musical performance was directed by Lonny Price.
Book
468 p., [24] p. of plates : ill. ; 23 cm.
SAL3 (off-campus storage)
Book
430 p. : ill. ; 23 cm.
SAL3 (off-campus storage)
Book
382 p. ; 23 cm.
SAL3 (off-campus storage)
Book
xxi, 250 pages : illustrations ; 25 cm
  • Table of Contents Foreword by Eric Schaeffer Introduction How To Use This Book Phase One: Conception Timetable One: Preparation Chapter One: Preparing for Collaboration Unit 1.1 Reading and listening to the Musical Unit 1.1.1 Gathering Impressions Questionnaire: First Impressions Unit 1.2 Creating a Research Portfolio Unit 1.3 History and Society Viewed Selectively Unit 1.4 Tradition Unit 1.5 Dissecting the Script and Score Unit 1.5.1 Units of Action Questionnaire: Unit Analysis Unit 1.6 Character Analysis Unit 1.6.1 Facts Questionnaire: Character Given Circumstances Unit 1.6.2 Character Journey Unit 1.6.3 Charting Change Unit 1.6.4 Attitudes Questionnaire: Character Attitudes Unit 1.6.5 Ambitions Questionnaire: Character Ambitions Unit 1.7 Directing and Style Unit 1.7.1 What Is Style? Unit 1.7.2 Establishing Style in Your Production Unit 1.7.3 Unity of Style Unit 1.7.4 History and Genre Unit 1.7.5 Worldview Questionnaire: Defining Worldview Unit 1.7.5 Articulating Style Questionnaire: Elements of Style Unit 1.8 Visiting the Performance Space Unit 1.9 Getting It Down On Paper - Creating a Concept Statement Unit 1.9.1 This Is The Story Of ... Unit 1.9.2 Themes and Ideas Unit 1.9.3 Images and Visual Style Unit 1.9.4 State Your Passion Chapter Two: Imagining The Chorus Unit 2.1 What is a chorus? Unit 2.2 Populating the world of your musical Unit 2.3 The power of the group Unit 2.4 Applying Pressure Unit 2.5 Chorus as Storyteller Unit 2.6 Chorus as Spectacle Unit 2.7 Chorus as Characters Unit 2.8 Engaging Chorus Actors Phase Two: Collaboration Timetable: Phase Two Chapter Three: Creative Collaboration Unit 3.1 The Passionate Center Unit 3.2 What is a Choreographer? Unit 3.3 Theatre Dance vs. Concert Dance Unit 3.4 Musical Collaboration Chapter Four: Directing the Design Unit 4.1 Design Process: Scenery Unit 4.1.1 Scenic Design Preparation Questionnaire: Scenic Design Unit 4.1.2 What to Expect in the Scenic Design Process Scenic Design Process for Big River Unit 4.2 Design Process: Costumes Unit 4.2.1 Character Analysis for Costume Design Unit 4.2.2 Practical Requirements Unit 4.2.3 Cast by Scene Breakdown Unit 4.2.4 What to Expect in the Costume Design Process Gregg Barnes' Costume Design Process for The Drowsy Chaperone Unit 4.3 Design Process: Lighting Unit 4.3.1 What to Expect in the Lighting Design Process Natasha Katz' Lighting Design Process for Follies Unit 4.4 Budgets and Creative Limits Checklist: Effective Design Phase Three: Rehearsal Timetable Three: Auditions to Final Studio Run-Through Chapter Five: Auditions Unit 5.1 Casting Breakdowns Unit 5.2 Principal Role Auditions Unit 5.3 Chorus Calls Unit 5.4 Addressing Multiple Casting Needs Unit 5.5 Non-Traditional Casting Unit 5.6 Negotiations and Waiting Chapter Six: Staging and Coaching Unit 6.1 Staging Stories Unit 6.1.1 Levels of Staging Unit 6.1.2 Staging Questions Questionnaire: Staging Action Unit 6.1.3 Believable Spontaneity and Inevitability Unit 6.1.4 Types of Musical Numbers Unit 6.1.5 Prompts to Staging Opportunities Unit 6.1.6 Staging Structure Unit 6.1.7 Storytelling Through Staging Unit 6.1.8 All Staging is Action Unit 6.1.9 Storytelling - Beat-by-beat Unit 6.1.10 Group Staging Notation 'I Wanna Be A Producer' from The Producers Unit 6.1.11 Choreographic Staging Unit 6.2 Staging Tools Unit 6.2.1 Movement and Images Unit 6.2.2 Principles of Effective Blocking Unit 6.2.3 Compositional Qualities Unit 6.3 Blocking Scenes and Songs Unit 6.3.1 Blocking Script Set Up Next to Normal scene/song blocking script Unit 6.3.2 Ideas Into Action Unit 6.3.3 Blocking Notation Unit 6.3.4 Giving Blocking to Actors Unit 6.4 Coaching Your Cast Unit 6.4.1 Actor/Singers Unit 6.4.2 10 Keys to Coaching the Singing Actor Unit 6.4.3 Dancers are actors, too Unit 6.5 Entertainment Values and 'Selling It' To The Audience Phase Four: Production Timetable: Phase Four Chapter Seven: Moving Into The Theatre Unit 7.1 Getting acquainted with the space Unit 7.2 Spacing Rehearsals and Adjustments Unit 7.3 Safety First Unit 7.4 Adding Scenery and Props Unit 7.5 Adding Lighting Unit 7.6 Adding Orchestra Unit 7.7 Sound Design and Reinforcement Unit 7.8 The Stage Manager Takes Charge - Technical Rehearsal Unit 7.9 Adding Costumes Unit 7.10 Crew Unit 7.11 Special Rehearsals Unit 7.12 Putting It All Back Together Unit 7.13 Finding The Heart of the show again Unit 7.14 Prioritizing and Problem Solving Unit 7.15 "Please" and "Thank You" Phase Five: Performance Timetable: Previews to Closing Chapter Eight: Shaping the Production Unit 8.1 Curtain Calls Unit 8.2 Previews Unit 8.3 Advice and Opinions Unit 8.4 Opening Night Unit 8.5 Notes and Rehearsal After Opening Unit 8.6 Post Mortem Chapter Nine: Etcetera - And All The Rest Unit 9.1 Directing New Works Unit 9.2 Directing Revues Unit 9.3 Habits of Successful Directors Appendices Appendix A: Sample Documents * Weekly Rehearsal Schedule - Seussical * Daily Rehearsal Schedule - Carousel * Blocking/Staging Checklist - Seussical * Cast-by-scene Breakdowns - Nine * Scene and Song Rehearsal Unit Breakdown - Kiss Me, Kate * Concept Statement - Into The Woods * Scene/Song Unit Analysis - Fiddler On The Roof * Character Analysis (short) - The Light In The Piazza * Staging Roadmap (Beat Breakdown) - 'The Night Waltz' from A Little Night Music Appendix B: Complete Production Timetable Appendix C: Blank Questionnaires * First Impressions * Unit Analysis * Character Given Circumstances * Character Attitudes * Character Ambitions * Defining Worldview * Elements of Style * Scenic Design * Staging Action * Checklist: Effective Design Appendix D: A Brief Glossary of Useful Stage Terms.
  • (source: Nielsen Book Data)9780415624909 20160614
This comprehensive guide, from the author of Acting in Musical Theatre, will equip aspiring directors with all of the skills that they will need in order to guide a production from beginning to end. From the very first conception and collaborations with crew and cast, through rehearsals and technical production all the way to the final performance, Joe Deer covers the full range. Deer's accessible and compellingly practical approach uses proven, repeatable methods for addressing all aspects of a production. The focus at every stage is on working with others, using insights from experienced, successful directors to tackle common problems and devise solutions. Each section uses the same structure, to stimulate creative thinking: * Timetables: detailed instructions on what to do and when, to provide a flexible organization template * Prompts and Investigations: addressing conceptual questions about style, characterization and design * Skills Workshops: Exercises and 'how-to' guides to essential skills * Essential Forms and Formats: Including staging notation, script annotation and rehearsal checklists * Case Studies: Well-known productions show how to apply each chapter's ideas Directing in Musical Theatre not only provides all of the essential skills, but explains when and how to put them to use; how to think like a director.
(source: Nielsen Book Data)9780415624909 20160614
Music Library
Book
391 p. : ill. ; 21 cm.
Music Library
Book
xiii, 386 p. : ill. ; 21 cm.
SAL3 (off-campus storage)
Video
1 online resource (3 min.).
Today's Mystery Guest is Edward Watts, star of It's a Bird ... It's a Plane ... It's Superman. He joins Alix Steel on Bloomberg Television's Taking Stock.
Book
xv, 335 p. : ill. ; 24 cm
SAL3 (off-campus storage)

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