Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann’s groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical...

Nothing happens, nobody comes, nobody goes, it's awful.' This line from the play was adopted by Jean Anouilh to characterize the first production of Waiting for Godot at the Théâtre de Babylone in 1953. He went on to predict that the play would, in time, represent the most important premiere to be staged in Paris for forty years.

With storytelling and collaboration as core principles, industry insiders Adam Leipzig (former President of National Geographic Films), and Barry Weiss (former head of animation at Sony Pictures), with Michael Goldman (prominent journalist and industry expert), guide students through the skills and the craft of video and filmmaking.

The newly revised and updated fifth edition of Grammar of the Shot teaches readers theoretical principles behind successful visual communication in motion media through discussions of shot composition, depth cues, lens choices, lighting, screen direction, camera movement, and shooting for editing. Many general practices are outlined that will help readers create rich, multi-layered visuals. Designed as an easy-to-use reference, this book presents each topic succinctly with clear photographs a...

Integrating scientific insights with practical applications, the third edition offers nearly 300 full-color anatomical illustrations, an introductory chapter, interactive check elements, and online tools. It clarifies muscle movements, joint mechanics, and injury prevention to support effective dance technique.

Reframing Luchino Visconti: Film and Art gives new and unique insights into the roots of the visual vocabulary of one of Italy's most reputed film authors. It meticulously researches Visconti's appropriation of European art in his set and costume design, from pictorial citations and the archaeology of the set to the use of portraits and pictorial references in costume design. Yet it also investigates Visconti's cinematography in combination with his mise-en-scène in terms of staging, framing...

Provocative new translation by Jean Benedetti. Includes a new foreword by Richard Eyre.