Theatre, Brief Loose Leaf

Category: Books,Arts & Photography,Performing Arts

Theatre, Brief Loose Leaf Details

About the Author ROBERT COHEN was the founding chair Drama at the University of California at Irvine, where he continues to serve as the department's Claire Trevor Professor of Drama. He has also been a resident acting teacher at the Actors Center in New York, the Shanghai Theatre Academy, the Korean National Arts University, and the national theatre academies of Hungary, Finland, and Estonia. He is an accomplished stage director, scholar, playwright, drama critic, and teacher. A director by training (Doctor of Fine Arts, Yale Drama School), Cohen has staged thirteen professional productions at the Utah and Colorado Shakespeare Festivals, plus well over a hundred productions at Stages Theatre Center (Hollywood), Virginia Museum Theatre (Richmond), Theatre 40 (Beverly Hills), Image Theatre (Boston), Summer Repertory Theatre (Santa Rosa), the Medieval Drama Project (Irvine), the Manhattan Theatre Source, various universities, and several operas, videos and films. In addition to Theatre and Theatre: Brief Edition, he is also the author of many theatre books, including Acting One, Advanced Acting, Acting in Shakespeare, Acting Professionally, Acting Power, More Power to You, Giraudoux: Three Faces of Destiny, Creative Play Direction, and two dramatic anthologies. His essays have appeared in Theatre Journal, Theatre Topics, Theatre Forum, Theatre Survey, Modern Drama, Theater der Zeit, Essays in Theatre, On Stage Studies, The Drama Review, Contemporary Literature, Contemporary Literary Criticism, Slavic and East European Performance, Experiment and Innovation, and Dramatic Theory and Criticism. Cohen's play, The Prince, published by Dramatic Publishing Company, has been professionally produced in Long Beach, Pittsburgh, Budapest, and in staged readings in New York and Los Angeles; his dramatic translations (The Bourgeois Gentleman, The Misanthrope, Clizia, Tibi's Law) and opera translations (The Magic Flute, Carmen) have been both produced and published widely. For the past twenty years, Cohen has been the Southern California drama critic for Plays International, reviewing over two hundred plays. In 1999, he received the national Career Achievement award from ATHE - the Association for Theatre in Higher Education.Donovan Sherman is an associate professor of English at Seton Hall University. His research focuses on the drama and performance of Shakespeare and his contemporaries, as well as theatre history, philosophy, and critical theory. Scholarly works include the book Second Death: Theatricalities of the Soul in Shakespeare’s Drama, published in 2016 by Edinburgh University Press, along with essays on Shakespeare, performance studies, film, and early modern religion and philosophy in Shakespeare Quarterly, The Journal of Medieval and Early Modern Studies, Literature/ Film Quarterly, English Literary Renaissance, Upstart, and Theatre Journal. Currently, he is working on a book about portrayals of ancient philosophy in early modern drama. As a theatre artist, Sherman has performed with the Actors Theatre of Louisville, the SITI Company, Steppenwolf Theatre Company, and several other regional theatres in the United States. Donovan received his doctoral degree from the Joint Program of Theatre and Drama at the University of California, Irvine, and the University of California, San Diego. Read more

Reviews

Before I launch into what I feel is wrong with this book, I want everyone to understand that I enjoy theater. I did theater in high school and I did some local community theater. And any passion I had remaining for theater has been completely destroyed by this book. Unfortunately, if you are buying this for a college course you are going to be stuck with it.What I found to be really lacking, was any real substance as to what theater is and how it gets executed. The book does talk about these subjects, but in vague, general ways. The history of theater is splattered all over each chapter of the book instead of mostly located in one or more chapters that would help lay the groundwork for modern theater. And the book speaks about theater and its various parts in an overly romantic manner, and spends much less effort doing the heavy lifting on what theater is, what types of theater there are, how those types of theater influence culture and have been influenced by culture, and how various individuals really go about their work.I found this book to be profoundly lacking in real substance when it comes to the topic of theater arts. My only saving grace is that I bought it on Amazon and can return it after the class to get some of my money back. If ZERO stars was an option that is what I would have given it.

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