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Used to teach beginning acting on more campuses than any other text, Acting One contains twenty-eight lessons based on experiential exercises. The text covers basic skills such as talking, listening, tactical interplay, physicalizing, building scenes, and making good choices.
Teddy Hastings is more of a doer than a thinker, a man who measures his life by what he has built: a successful career as a middle school principal, a solid marriage, two lovely if distant daughters. But once he hits fifty, in the shadow of his younger brother's death and a health scare of his own, Teddy feels the gravitational pull of his mortality and realizes he is no longer quite so in the middle, no longer building a life but maintaining one. He yearns for delivery and transcendence, for a hint of the sublime, and is determined to find it. What he gets instead is the "intrusion of the irrational in his affairs." Oren Pierce, a perpetual grad student who has "made a mark, or left a smudge anyway" all over the place, has had more than enough transcendence in his life. Neither the extraordinary existence for which he assumed he was destined nor the woman with whom he assumed he would share it has materialized. In their absence he flounders in the possible, wondering what it will take to anchor himself to the supremely ordinary existence he both longs for and abhors. The intersecting and diverging paths of these two men take them from the grids of New York City to the domesticated gardens of New England to the wildest, most unstructured landscapes of all -- the bedroom, the classroom, the darkroom, and the far reaches of East Africa, where Teddy at last finds something akin to what he seeks. Amateur Barbarians showcases a writer at the peak of his powers, laying bare the evasions and unrealities of the familiar, the odd recognition with which we view the remote, plumbing the depths of the unlived life with uncanny wit and perception, revealing yet again why Robert Cohen was touted by The New York Times Book Review as the "heir to Saul Bellow and Philip Roth."
This textbook is used at colleges around the world in Intro to Drama courses.
A volume on Berkeley's celebrated Free Speech Movement (FSM) of 1964. Drawing from the experiences of many movement veterans, this collection of scholarly articles and personal memoirs illuminates in fresh ways one of the most important events in the recent history of American higher education.
This lively introduction to theatre offers equal measures of appreciation of theatrical arts and descriptions of the collaborative theatrical crafts. The author's enthusiasm for and knowledge of the current theatre, highlighted by contemporary production shots from around the world, put the students in the front row.
For years Robert Cohen has been praised by reviewers and readers alike for his masterful prose and his exuberant and penetrating comic vision. The New York Times has even called his writing redemptive -- so satisfying as to "remind readers why they continue to cast their lines into the shrinking lake of contemporary fiction...his prose is not merely gorgeous, it's also terrifically funny; his humor is the ghastly variety embedded in everyday life." Now, the critically acclaimed and bestselling author of Inspired Sleep delivers a collection of ten dazzling stories that not only show off Cohen's exhilarating prose and startling ironic humor but also provide a platform for his virtuoso range of tone and style and his ongoing investigation of the hazy, bedraggled American sensibility. In "Oscillations," a man verbally paralyzed by his obsession with language retreats to a special institute, where he will relearn the art of communication. "Points of Interest" is an ingenious and timely exploration of the boundaries between life and art, as told through the revolving -- and dizzyingly revealing -- perspectives of its three self-absorbed protagonists. The title story features a hilariously out-of-touch psychology professor whose introductory lecture becomes an inadvertent confession of his own long, disastrous career of sexual mistakes. And in the more somber, moving "The Boys at Night," a suburban teenager, on the fringes of a family crisis, makes his first tentative forays into maturity, discovering how accidents at once reveal, imperil, and sustain us. In each of these stories, the characters must wrestle with the slippery, invisible curtain between the world and their own fevered misapprehensions of it. What results is the urgently serious comedy we call Romanticism -- the yearning of the mind for contact with the actual, which is always receding from view. That these characters' desires and anxieties are familiar to us is the second thing we realize upon reading these stories. The first is how much we're laughing.
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