Messy, rambling pile of good ideas, 03 Dec 2007
Although true you will probably find this book largely incomprehensible to begin with, as a piece of philosophy of theatre it is actually really quite good. This is a book for enthusiasts, able readers and people who don't mind having to really think about what they are coming in contact with. Artuad's ideas are really quite 'lofty', if you know what i mean, and some have claimed they are impossible to put into practice (although I am not so sure). To really crack Artaud you need someone else to discuss it with and both of you need to have a sound point of reference; you need to know drama. If you do however, you'll find the discussions that revolve around this book throughly enjoyable and the ideas that it will bring about you should find actually pertinent to practical drama work.

Some sections are better than others, but i strongly recommend chapter 2 ('Metaphysics and the Mise En Scene") because its fantastic. I say this because during my A-level Drama course I found this section immensely important in my understanding of the subject and our group utilised several elements of the theory in our own production. As I understand it, in this chapter Artuad makes the argument that modern theatre is tyrannised by dialogue and the written word, at the expense of all the theatrics of the stage, which actually limits the potential emotional impact of the piece. For Artaud the stage is a concrete physical place which needs to be filled with its own concrete physical language, not simply that of words. Artaud seems to feel the purpose of theatre is to induce a massive emotional impact on the audience member which is their source of meaning, not prepared meaning in dialogue. This should give you an idea of the complexity, but at the same time quality, of Artauds ideas.

I give the book 4 stars because, although some might give it 5 for its great ideas, it is really quite unaccessible and some parts are arguably much less useful than others.

You need a reader, 06 Aug 2007
When I first read Artuad, I was completely confused. This book is written in metaphore and I strongly recommend that you buy a reader to guide you through. In particular, I recommend Lee Jamieson's book entitled:

Antonin Artaud: From Theory to Practice.

It really opens up new avenues in The theatre and its Double and is an indespensible companion. Alongside Lee Jamieson's book, Artaud will change your whole view of theatre!!!

Good if you are interested in Artaud, 06 Aug 2007
As when I bought this book I was studying Artaud, I found it incredibly useful. It is an insight into Artaud's mind as he tends to write down exactly what he is thinking, although he often contradicts himself. It is also often amusing. I feel if you are studying Artaud, or putting on a production in Artaudian style this book is incredibly useful.

However I do not believe it would be as helpful if you are searching for tips about theatre in general as Artaud has a very unique style.

It is fascinating to see Artaud come up with ideas like street theatre without giving it a name that we now see as commonplace in main cities.

Messy, rambling pile of good ideas, 03 Dec 2007
Although true you will probably find this book largely incomprehensible to begin with, as a piece of philosophy of theatre it is actually really quite good. This is a book for enthusiasts, able readers and people who don't mind having to really think about what they are coming in contact with. Artuad's ideas are really quite 'lofty', if you know what i mean, and some have claimed they are impossible to put into practice (although I am not so sure). To really crack Artaud you need someone else to discuss it with and both of you need to have a sound point of reference; you need to know drama. If you do however, you'll find the discussions that revolve around this book throughly enjoyable and the ideas that it will bring about you should find actually pertinent to practical drama work.

Some sections are better than others, but i strongly recommend chapter 2 ('Metaphysics and the Mise En Scene") because its fantastic. I say this because during my A-level Drama course I found this section immensely important in my understanding of the subject and our group utilised several elements of the theory in our own production. As I understand it, in this chapter Artuad makes the argument that modern theatre is tyrannised by dialogue and the written word, at the expense of all the theatrics of the stage, which actually limits the potential emotional impact of the piece. For Artaud the stage is a concrete physical place which needs to be filled with its own concrete physical language, not simply that of words. Artaud seems to feel the purpose of theatre is to induce a massive emotional impact on the audience member which is their source of meaning, not prepared meaning in dialogue. This should give you an idea of the complexity, but at the same time quality, of Artauds ideas.

I give the book 4 stars because, although some might give it 5 for its great ideas, it is really quite unaccessible and some parts are arguably much less useful than others.

You need a reader, 06 Aug 2007
When I first read Artuad, I was completely confused. This book is written in metaphore and I strongly recommend that you buy a reader to guide you through. In particular, I recommend Lee Jamieson's book entitled:

Antonin Artaud: From Theory to Practice.

It really opens up new avenues in The theatre and its Double and is an indespensible companion. Alongside Lee Jamieson's book, Artaud will change your whole view of theatre!!!

Good if you are interested in Artaud, 06 Aug 2007
As when I bought this book I was studying Artaud, I found it incredibly useful. It is an insight into Artaud's mind as he tends to write down exactly what he is thinking, although he often contradicts himself. It is also often amusing. I feel if you are studying Artaud, or putting on a production in Artaudian style this book is incredibly useful.

However I do not believe it would be as helpful if you are searching for tips about theatre in general as Artaud has a very unique style.

It is fascinating to see Artaud come up with ideas like street theatre without giving it a name that we now see as commonplace in main cities.

A well put together book, 15 Sep 2008
As an introduction to theatre theory this book is a pleasure to read, and what's more - it is understandable! So many authors of these type of books write with their head in the clouds, flexing their vocabulary muscles so much that it becomes a bore to read. No so with this. It is a well focused down to earth book that gets to the point. Well recommended.

In depth and multi-dimensional, 25 Apr 2007
Fortier somehow masters an introduction to many theoretical perspectives and their relation to theatre in a relatively small volume. The book focuses on theatre as performed rather than as writen.

After consideration of the various ways in which theatre and theory can interact, Fortier dedicates nine chapters to nine theoretical perpectives. Each chapter outlines the major approaches and writings in the field and inter-relates them to oneanother before giving a few examples of how the theory can be applied to certain appropiately selected performances.

The first 3 chapters (Semiotics, Phenomenology, Post-strucuralism) are geared towards the relationship to text.
The second 3 chapters (Psychoanalytic, Feminist, Reception) is conscious of subjectivity as motivation of practitioners.
The third 3 chapters (Materialist, Post-modernism, Post-colonial) is geared towards theatre's relationship to 'the outside world'.

The writing style is very open and avoids any dogmatic statements; which can be annoying if you are trying to find quick answers or a definition of a theory, but is an overall strength as it provokes a deeper understanding.

This is the only book I know of which relates more than one theory specifically to theatre. It is also rare to find works that inter-relate more than two theories. It is supprising "Theory/Theatre" is so easy to follow.

It breifly covers a magnitude of practitioners and theorists, then closes with a comprehensive list of further works for each area. It includes a glossary and bibliography.

an essential read, 26 Jul 2005
To anyone studying or interested in modern theatre movements and literary critism this book surely is a must. Fortier's language is concise and defined and allows for confortable reading. For anybody studying theatre, especially before you get into an exam this book is essential and key to hightened understanding.
truly recommended

Messy, rambling pile of good ideas, 03 Dec 2007
Although true you will probably find this book largely incomprehensible to begin with, as a piece of philosophy of theatre it is actually really quite good. This is a book for enthusiasts, able readers and people who don't mind having to really think about what they are coming in contact with. Artuad's ideas are really quite 'lofty', if you know what i mean, and some have claimed they are impossible to put into practice (although I am not so sure). To really crack Artaud you need someone else to discuss it with and both of you need to have a sound point of reference; you need to know drama. If you do however, you'll find the discussions that revolve around this book throughly enjoyable and the ideas that it will bring about you should find actually pertinent to practical drama work.

Some sections are better than others, but i strongly recommend chapter 2 ('Metaphysics and the Mise En Scene") because its fantastic. I say this because during my A-level Drama course I found this section immensely important in my understanding of the subject and our group utilised several elements of the theory in our own production. As I understand it, in this chapter Artuad makes the argument that modern theatre is tyrannised by dialogue and the written word, at the expense of all the theatrics of the stage, which actually limits the potential emotional impact of the piece. For Artaud the stage is a concrete physical place which needs to be filled with its own concrete physical language, not simply that of words. Artaud seems to feel the purpose of theatre is to induce a massive emotional impact on the audience member which is their source of meaning, not prepared meaning in dialogue. This should give you an idea of the complexity, but at the same time quality, of Artauds ideas.

I give the book 4 stars because, although some might give it 5 for its great ideas, it is really quite unaccessible and some parts are arguably much less useful than others.

You need a reader, 06 Aug 2007
When I first read Artuad, I was completely confused. This book is written in metaphore and I strongly recommend that you buy a reader to guide you through. In particular, I recommend Lee Jamieson's book entitled:

Antonin Artaud: From Theory to Practice.

It really opens up new avenues in The theatre and its Double and is an indespensible companion. Alongside Lee Jamieson's book, Artaud will change your whole view of theatre!!!

Good if you are interested in Artaud, 06 Aug 2007
As when I bought this book I was studying Artaud, I found it incredibly useful. It is an insight into Artaud's mind as he tends to write down exactly what he is thinking, although he often contradicts himself. It is also often amusing. I feel if you are studying Artaud, or putting on a production in Artaudian style this book is incredibly useful.

However I do not believe it would be as helpful if you are searching for tips about theatre in general as Artaud has a very unique style.

It is fascinating to see Artaud come up with ideas like street theatre without giving it a name that we now see as commonplace in main cities.

A well put together book, 15 Sep 2008
As an introduction to theatre theory this book is a pleasure to read, and what's more - it is understandable! So many authors of these type of books write with their head in the clouds, flexing their vocabulary muscles so much that it becomes a bore to read. No so with this. It is a well focused down to earth book that gets to the point. Well recommended.

In depth and multi-dimensional, 25 Apr 2007
Fortier somehow masters an introduction to many theoretical perspectives and their relation to theatre in a relatively small volume. The book focuses on theatre as performed rather than as writen.

After consideration of the various ways in which theatre and theory can interact, Fortier dedicates nine chapters to nine theoretical perpectives. Each chapter outlines the major approaches and writings in the field and inter-relates them to oneanother before giving a few examples of how the theory can be applied to certain appropiately selected performances.

The first 3 chapters (Semiotics, Phenomenology, Post-strucuralism) are geared towards the relationship to text.
The second 3 chapters (Psychoanalytic, Feminist, Reception) is conscious of subjectivity as motivation of practitioners.
The third 3 chapters (Materialist, Post-modernism, Post-colonial) is geared towards theatre's relationship to 'the outside world'.

The writing style is very open and avoids any dogmatic statements; which can be annoying if you are trying to find quick answers or a definition of a theory, but is an overall strength as it provokes a deeper understanding.

This is the only book I know of which relates more than one theory specifically to theatre. It is also rare to find works that inter-relate more than two theories. It is supprising "Theory/Theatre" is so easy to follow.

It breifly covers a magnitude of practitioners and theorists, then closes with a comprehensive list of further works for each area. It includes a glossary and bibliography.

an essential read, 26 Jul 2005
To anyone studying or interested in modern theatre movements and literary critism this book surely is a must. Fortier's language is concise and defined and allows for confortable reading. For anybody studying theatre, especially before you get into an exam this book is essential and key to hightened understanding.
truly recommended

Best present ever!, 26 Dec 2007
I was given this beautiful book after my friend discovered I had my own wish list. It really is a wonderful collection of photographs and stories from an enchanted era. I know I will look at this book for inspiration again and again. Truly fabulous!

Pretty things indeed, 17 Nov 2007
This book is beautifully presented and contains a fantastic amount of information on the burlesque queens, their costumes and their lives.

A Beautiful Book, 21 Feb 2007
This is a beautiful book and would make a gorgeous present or look good on your coffee table- the cover itself is lovely. It is packed full of amazing pictures of burlesque queens and their costumes with great detail- copies of photos, handwritten notes and scraps of material. My only criticism is that the author sometimes appears quite naive and narcissistic- with a few photos of herself wearing the queens costumes- why? Apart from this it is a very sumptuous, glamorous, escapist book that you can loose yourself in.

Messy, rambling pile of good ideas, 03 Dec 2007
Although true you will probably find this book largely incomprehensible to begin with, as a piece of philosophy of theatre it is actually really quite good. This is a book for enthusiasts, able readers and people who don't mind having to really think about what they are coming in contact with. Artuad's ideas are really quite 'lofty', if you know what i mean, and some have claimed they are impossible to put into practice (although I am not so sure). To really crack Artaud you need someone else to discuss it with and both of you need to have a sound point of reference; you need to know drama. If you do however, you'll find the discussions that revolve around this book throughly enjoyable and the ideas that it will bring about you should find actually pertinent to practical drama work.

Some sections are better than others, but i strongly recommend chapter 2 ('Metaphysics and the Mise En Scene") because its fantastic. I say this because during my A-level Drama course I found this section immensely important in my understanding of the subject and our group utilised several elements of the theory in our own production. As I understand it, in this chapter Artuad makes the argument that modern theatre is tyrannised by dialogue and the written word, at the expense of all the theatrics of the stage, which actually limits the potential emotional impact of the piece. For Artaud the stage is a concrete physical place which needs to be filled with its own concrete physical language, not simply that of words. Artaud seems to feel the purpose of theatre is to induce a massive emotional impact on the audience member which is their source of meaning, not prepared meaning in dialogue. This should give you an idea of the complexity, but at the same time quality, of Artauds ideas.

I give the book 4 stars because, although some might give it 5 for its great ideas, it is really quite unaccessible and some parts are arguably much less useful than others.

You need a reader, 06 Aug 2007
When I first read Artuad, I was completely confused. This book is written in metaphore and I strongly recommend that you buy a reader to guide you through. In particular, I recommend Lee Jamieson's book entitled:

Antonin Artaud: From Theory to Practice.

It really opens up new avenues in The theatre and its Double and is an indespensible companion. Alongside Lee Jamieson's book, Artaud will change your whole view of theatre!!!

Good if you are interested in Artaud, 06 Aug 2007
As when I bought this book I was studying Artaud, I found it incredibly useful. It is an insight into Artaud's mind as he tends to write down exactly what he is thinking, although he often contradicts himself. It is also often amusing. I feel if you are studying Artaud, or putting on a production in Artaudian style this book is incredibly useful.

However I do not believe it would be as helpful if you are searching for tips about theatre in general as Artaud has a very unique style.

It is fascinating to see Artaud come up with ideas like street theatre without giving it a name that we now see as commonplace in main cities.

A well put together book, 15 Sep 2008
As an introduction to theatre theory this book is a pleasure to read, and what's more - it is understandable! So many authors of these type of books write with their head in the clouds, flexing their vocabulary muscles so much that it becomes a bore to read. No so with this. It is a well focused down to earth book that gets to the point. Well recommended.

In depth and multi-dimensional, 25 Apr 2007
Fortier somehow masters an introduction to many theoretical perspectives and their relation to theatre in a relatively small volume. The book focuses on theatre as performed rather than as writen.

After consideration of the various ways in which theatre and theory can interact, Fortier dedicates nine chapters to nine theoretical perpectives. Each chapter outlines the major approaches and writings in the field and inter-relates them to oneanother before giving a few examples of how the theory can be applied to certain appropiately selected performances.

The first 3 chapters (Semiotics, Phenomenology, Post-strucuralism) are geared towards the relationship to text.
The second 3 chapters (Psychoanalytic, Feminist, Reception) is conscious of subjectivity as motivation of practitioners.
The third 3 chapters (Materialist, Post-modernism, Post-colonial) is geared towards theatre's relationship to 'the outside world'.

The writing style is very open and avoids any dogmatic statements; which can be annoying if you are trying to find quick answers or a definition of a theory, but is an overall strength as it provokes a deeper understanding.

This is the only book I know of which relates more than one theory specifically to theatre. It is also rare to find works that inter-relate more than two theories. It is supprising "Theory/Theatre" is so easy to follow.

It breifly covers a magnitude of practitioners and theorists, then closes with a comprehensive list of further works for each area. It includes a glossary and bibliography.

an essential read, 26 Jul 2005
To anyone studying or interested in modern theatre movements and literary critism this book surely is a must. Fortier's language is concise and defined and allows for confortable reading. For anybody studying theatre, especially before you get into an exam this book is essential and key to hightened understanding.
truly recommended

Best present ever!, 26 Dec 2007
I was given this beautiful book after my friend discovered I had my own wish list. It really is a wonderful collection of photographs and stories from an enchanted era. I know I will look at this book for inspiration again and again. Truly fabulous!

Pretty things indeed, 17 Nov 2007
This book is beautifully presented and contains a fantastic amount of information on the burlesque queens, their costumes and their lives.

A Beautiful Book, 21 Feb 2007
This is a beautiful book and would make a gorgeous present or look good on your coffee table- the cover itself is lovely. It is packed full of amazing pictures of burlesque queens and their costumes with great detail- copies of photos, handwritten notes and scraps of material. My only criticism is that the author sometimes appears quite naive and narcissistic- with a few photos of herself wearing the queens costumes- why? Apart from this it is a very sumptuous, glamorous, escapist book that you can loose yourself in.

A Comprehensive Guide for an Important Playwright, 29 Mar 2006
No doubt Sarah Kane will attract much attention from students over the next few years as the forerunner of the 'in yer face' sensibility and one of the least studied and most talked about playwrights of the 20th century. Thankfully Sauders' comprehensive study is a very useful work to fill the academic void that surrounds this important playwright. It gives useful background, influences and reactions to all of Kane's plays in significant depth. It also includes many useful interviews and the introduction shows great insight into the state of British theatre during the 1990s. If you are a fan of Sarah Kane, or want to write an essay on her then currently this is by far the most important work to read.

A must for Kane and Experimetal Theatre, 13 Mar 2004
If you like or are studying Kane then this book is essential. Its also a fantastic aid for experimental in-yer-face theatre as it comments not only on the specifics of Kane's work, but gives details of how performances were staged, providing glimpses and ideas for visualising plays with minimal stage and character descriptions, like Martin Crimp's work for instance. I used this as a secondary source for my dissertation and it became a sort of bible. I've never regretted buying it.

Buy it it's great!, 18 Dec 2003
After using this in one of my essays on contemporary playwrights by lecturer made a point of hunting me down just so that he could tell me well done! I started writing an essay on Sarah Kane only to find that there is virtually nothing written about her or her work! THankfully this book is pretty much exhaustive and was an absolute saviour for me! It is really interesting, and covers a lot of different aspects. There is a chapter on each play, including 4.48 Psychosis which is new enough to never be referred to in academic reading! As well as analysing her work there are also several chapters based round interviews with friends and people that she worked with, as well as reviews and comments on the first performance! If you like Sarah Kane then this is brillaint, if you're easily shocked then I wouldn't because Kane wasn't shy about what she wrote!

Messy, rambling pile of good ideas, 03 Dec 2007
Although true you will probably find this book largely incomprehensible to begin with, as a piece of philosophy of theatre it is actually really quite good. This is a book for enthusiasts, able readers and people who don't mind having to really think about what they are coming in contact with. Artuad's ideas are really quite 'lofty', if you know what i mean, and some have claimed they are impossible to put into practice (although I am not so sure). To really crack Artaud you need someone else to discuss it with and both of you need to have a sound point of reference; you need to know drama. If you do however, you'll find the discussions that revolve around this book throughly enjoyable and the ideas that it will bring about you should find actually pertinent to practical drama work.

Some sections are better than others, but i strongly recommend chapter 2 ('Metaphysics and the Mise En Scene") because its fantastic. I say this because during my A-level Drama course I found this section immensely important in my understanding of the subject and our group utilised several elements of the theory in our own production. As I understand it, in this chapter Artuad makes the argument that modern theatre is tyrannised by dialogue and the written word, at the expense of all the theatrics of the stage, which actually limits the potential emotional impact of the piece. For Artaud the stage is a concrete physical place which needs to be filled with its own concrete physical language, not simply that of words. Artaud seems to feel the purpose of theatre is to induce a massive emotional impact on the audience member which is their source of meaning, not prepared meaning in dialogue. This should give you an idea of the complexity, but at the same time quality, of Artauds ideas.

I give the book 4 stars because, although some might give it 5 for its great ideas, it is really quite unaccessible and some parts are arguably much less useful than others.

You need a reader, 06 Aug 2007
When I first read Artuad, I was completely confused. This book is written in metaphore and I strongly recommend that you buy a reader to guide you through. In particular, I recommend Lee Jamieson's book entitled:

Antonin Artaud: From Theory to Practice.

It really opens up new avenues in The theatre and its Double and is an indespensible companion. Alongside Lee Jamieson's book, Artaud will change your whole view of theatre!!!

Good if you are interested in Artaud, 06 Aug 2007
As when I bought this book I was studying Artaud, I found it incredibly useful. It is an insight into Artaud's mind as he tends to write down exactly what he is thinking, although he often contradicts himself. It is also often amusing. I feel if you are studying Artaud, or putting on a production in Artaudian style this book is incredibly useful.

However I do not believe it would be as helpful if you are searching for tips about theatre in general as Artaud has a very unique style.

It is fascinating to see Artaud come up with ideas like street theatre without giving it a name that we now see as commonplace in main cities.

A well put together book, 15 Sep 2008
As an introduction to theatre theory this book is a pleasure to read, and what's more - it is understandable! So many authors of these type of books write with their head in the clouds, flexing their vocabulary muscles so much that it becomes a bore to read. No so with this. It is a well focused down to earth book that gets to the point. Well recommended.

In depth and multi-dimensional, 25 Apr 2007
Fortier somehow masters an introduction to many theoretical perspectives and their relation to theatre in a relatively small volume. The book focuses on theatre as performed rather than as writen.

After consideration of the various ways in which theatre and theory can interact, Fortier dedicates nine chapters to nine theoretical perpectives. Each chapter outlines the major approaches and writings in the field and inter-relates them to oneanother before giving a few examples of how the theory can be applied to certain appropiately selected performances.

The first 3 chapters (Semiotics, Phenomenology, Post-strucuralism) are geared towards the relationship to text.
The second 3 chapters (Psychoanalytic, Feminist, Reception) is conscious of subjectivity as motivation of practitioners.
The third 3 chapters (Materialist, Post-modernism, Post-colonial) is geared towards theatre's relationship to 'the outside world'.

The writing style is very open and avoids any dogmatic statements; which can be annoying if you are trying to find quick answers or a definition of a theory, but is an overall strength as it provokes a deeper understanding.

This is the only book I know of which relates more than one theory specifically to theatre. It is also rare to find works that inter-relate more than two theories. It is supprising "Theory/Theatre" is so easy to follow.

It breifly covers a magnitude of practitioners and theorists, then closes with a comprehensive list of further works for each area. It includes a glossary and bibliography.

an essential read, 26 Jul 2005
To anyone studying or interested in modern theatre movements and literary critism this book surely is a must. Fortier's language is concise and defined and allows for confortable reading. For anybody studying theatre, especially before you get into an exam this book is essential and key to hightened understanding.
truly recommended

Best present ever!, 26 Dec 2007
I was given this beautiful book after my friend discovered I had my own wish list. It really is a wonderful collection of photographs and stories from an enchanted era. I know I will look at this book for inspiration again and again. Truly fabulous!

Pretty things indeed, 17 Nov 2007
This book is beautifully presented and contains a fantastic amount of information on the burlesque queens, their costumes and their lives.

A Beautiful Book, 21 Feb 2007
This is a beautiful book and would make a gorgeous present or look good on your coffee table- the cover itself is lovely. It is packed full of amazing pictures of burlesque queens and their costumes with great detail- copies of photos, handwritten notes and scraps of material. My only criticism is that the author sometimes appears quite naive and narcissistic- with a few photos of herself wearing the queens costumes- why? Apart from this it is a very sumptuous, glamorous, escapist book that you can loose yourself in.

A Comprehensive Guide for an Important Playwright, 29 Mar 2006
No doubt Sarah Kane will attract much attention from students over the next few years as the forerunner of the 'in yer face' sensibility and one of the least studied and most talked about playwrights of the 20th century. Thankfully Sauders' comprehensive study is a very useful work to fill the academic void that surrounds this important playwright. It gives useful background, influences and reactions to all of Kane's plays in significant depth. It also includes many useful interviews and the introduction shows great insight into the state of British theatre during the 1990s. If you are a fan of Sarah Kane, or want to write an essay on her then currently this is by far the most important work to read.

A must for Kane and Experimetal Theatre, 13 Mar 2004
If you like or are studying Kane then this book is essential. Its also a fantastic aid for experimental in-yer-face theatre as it comments not only on the specifics of Kane's work, but gives details of how performances were staged, providing glimpses and ideas for visualising plays with minimal stage and character descriptions, like Martin Crimp's work for instance. I used this as a secondary source for my dissertation and it became a sort of bible. I've never regretted buying it.

Buy it it's great!, 18 Dec 2003
After using this in one of my essays on contemporary playwrights by lecturer made a point of hunting me down just so that he could tell me well done! I started writing an essay on Sarah Kane only to find that there is virtually nothing written about her or her work! THankfully this book is pretty much exhaustive and was an absolute saviour for me! It is really interesting, and covers a lot of different aspects. There is a chapter on each play, including 4.48 Psychosis which is new enough to never be referred to in academic reading! As well as analysing her work there are also several chapters based round interviews with friends and people that she worked with, as well as reviews and comments on the first performance! If you like Sarah Kane then this is brillaint, if you're easily shocked then I wouldn't because Kane wasn't shy about what she wrote!

Defying Gravity- A Must Have Theatre Book, 09 Nov 2008
"Defying Gravity" is the authorized biography of the incredibly talented Stephen Schwartz the composer and lyricist of such hit shows as Godspell, Pippin, Children of Eden and a little global phenomenon you may know called "Wicked". The author's love and respect for the art form is apparant in every page. The book is written in an extremely fresh, balanced and informative manner. Apart from packing in lots of extremely interesting interviews, stories and background to Mr. Schwartz's career there is also the fascinating, behind the scenes story of the creation of "Wicked".

For fans of the show (and you know who you are) this is a unique opportunity to follow a major theatrical event from first drafts to opening night. Fans will love reading about the writing process, the rehearsals and eventual worlwide success. Author Carol De Giere follows the shows journey and has lifted the curtain on this emerald city musical allowing fans a rare insight into the creative process and work that go into creating a hit musical!

The book will appeal to both fans of Stephen Schwartz and those interested in how this most collaborative of art forms springs to life. Carol De Giere poses insightful questions into where good ideas come from, the importance of workshopping, team work, learning from mistakes and picking production teams with clear visions. If anyone is about to embark on writing a musical after reading this you will be much better informed on how to create a coherent, strong show whilst avoiding some pitfalls.

This is one of those rare theatre books that is entertaining, detailed and accomplished. After reading it it made me want to see Mr. Schwartz's other shows and re-visit "Wicked". If a theatre book can encourage audiences into a theatre then it must be good! Musical theatre books rarely capture both the pain and excitement of creation. This book certainly does.

A wickedly wonderful read.

Messy, rambling pile of good ideas, 03 Dec 2007
Although true you will probably find this book largely incomprehensible to begin with, as a piece of philosophy of theatre it is actually really quite good. This is a book for enthusiasts, able readers and people who don't mind having to really think about what they are coming in contact with. Artuad's ideas are really quite 'lofty', if you know what i mean, and some have claimed they are impossible to put into practice (although I am not so sure). To really crack Artaud you need someone else to discuss it with and both of you need to have a sound point of reference; you need to know drama. If you do however, you'll find the discussions that revolve around this book throughly enjoyable and the ideas that it will bring about you should find actually pertinent to practical drama work.

Some sections are better than others, but i strongly recommend chapter 2 ('Metaphysics and the Mise En Scene") because its fantastic. I say this because during my A-level Drama course I found this section immensely important in my understanding of the subject and our group utilised several elements of the theory in our own production. As I understand it, in this chapter Artuad makes the argument that modern theatre is tyrannised by dialogue and the written word, at the expense of all the theatrics of the stage, which actually limits the potential emotional impact of the piece. For Artaud the stage is a concrete physical place which needs to be filled with its own concrete physical language, not simply that of words. Artaud seems to feel the purpose of theatre is to induce a massive emotional impact on the audience member which is their source of meaning, not prepared meaning in dialogue. This should give you an idea of the complexity, but at the same time quality, of Artauds ideas.

I give the book 4 stars because, although some might give it 5 for its great ideas, it is really quite unaccessible and some parts are arguably much less useful than others.

You need a reader, 06 Aug 2007
When I first read Artuad, I was completely confused. This book is written in metaphore and I strongly recommend that you buy a reader to guide you through. In particular, I recommend Lee Jamieson's book entitled:

Antonin Artaud: From Theory to Practice.

It really opens up new avenues in The theatre and its Double and is an indespensible companion. Alongside Lee Jamieson's book, Artaud will change your whole view of theatre!!!

Good if you are interested in Artaud, 06 Aug 2007
As when I bought this book I was studying Artaud, I found it incredibly useful. It is an insight into Artaud's mind as he tends to write down exactly what he is thinking, although he often contradicts himself. It is also often amusing. I feel if you are studying Artaud, or putting on a production in Artaudian style this book is incredibly useful.

However I do not believe it would be as helpful if you are searching for tips about theatre in general as Artaud has a very unique style.

It is fascinating to see Artaud come up with ideas like street theatre without giving it a name that we now see as commonplace in main cities.

A well put together book, 15 Sep 2008
As an introduction to theatre theory this book is a pleasure to read, and what's more - it is understandable! So many authors of these type of books write with their head in the clouds, flexing their vocabulary muscles so much that it becomes a bore to read. No so with this. It is a well focused down to earth book that gets to the point. Well recommended.

In depth and multi-dimensional, 25 Apr 2007
Fortier somehow masters an introduction to many theoretical perspectives and their relation to theatre in a relatively small volume. The book focuses on theatre as performed rather than as writen.

After consideration of the various ways in which theatre and theory can interact, Fortier dedicates nine chapters to nine theoretical perpectives. Each chapter outlines the major approaches and writings in the field and inter-relates them to oneanother before giving a few examples of how the theory can be applied to certain appropiately selected performances.

The first 3 chapters (Semiotics, Phenomenology, Post-strucuralism) are geared towards the relationship to text.
The second 3 chapters (Psychoanalytic, Feminist, Reception) is conscious of subjectivity as motivation of practitioners.
The third 3 chapters (Materialist, Post-modernism, Post-colonial) is geared towards theatre's relationship to 'the outside world'.

The writing style is very open and avoids any dogmatic statements; which can be annoying if you are trying to find quick answers or a definition of a theory, but is an overall strength as it provokes a deeper understanding.

This is the only book I know of which relates more than one theory specifically to theatre. It is also rare to find works that inter-relate more than two theories. It is supprising "Theory/Theatre" is so easy to follow.

It breifly covers a magnitude of practitioners and theorists, then closes with a comprehensive list of further works for each area. It includes a glossary and bibliography.

an essential read, 26 Jul 2005
To anyone studying or interested in modern theatre movements and literary critism this book surely is a must. Fortier's language is concise and defined and allows for confortable reading. For anybody studying theatre, especially before you get into an exam this book is essential and key to hightened understanding.
truly recommended

Best present ever!, 26 Dec 2007
I was given this beautiful book after my friend discovered I had my own wish list. It really is a wonderful collection of photographs and stories from an enchanted era. I know I will look at this book for inspiration again and again. Truly fabulous!

Pretty things indeed, 17 Nov 2007
This book is beautifully presented and contains a fantastic amount of information on the burlesque queens, their costumes and their lives.

A Beautiful Book, 21 Feb 2007
This is a beautiful book and would make a gorgeous present or look good on your coffee table- the cover itself is lovely. It is packed full of amazing pictures of burlesque queens and their costumes with great detail- copies of photos, handwritten notes and scraps of material. My only criticism is that the author sometimes appears quite naive and narcissistic- with a few photos of herself wearing the queens costumes- why? Apart from this it is a very sumptuous, glamorous, escapist book that you can loose yourself in.

A Comprehensive Guide for an Important Playwright, 29 Mar 2006
No doubt Sarah Kane will attract much attention from students over the next few years as the forerunner of the 'in yer face' sensibility and one of the least studied and most talked about playwrights of the 20th century. Thankfully Sauders' comprehensive study is a very useful work to fill the academic void that surrounds this important playwright. It gives useful background, influences and reactions to all of Kane's plays in significant depth. It also includes many useful interviews and the introduction shows great insight into the state of British theatre during the 1990s. If you are a fan of Sarah Kane, or want to write an essay on her then currently this is by far the most important work to read.

A must for Kane and Experimetal Theatre, 13 Mar 2004
If you like or are studying Kane then this book is essential. Its also a fantastic aid for experimental in-yer-face theatre as it comments not only on the specifics of Kane's work, but gives details of how performances were staged, providing glimpses and ideas for visualising plays with minimal stage and character descriptions, like Martin Crimp's work for instance. I used this as a secondary source for my dissertation and it became a sort of bible. I've never regretted buying it.

Buy it it's great!, 18 Dec 2003
After using this in one of my essays on contemporary playwrights by lecturer made a point of hunting me down just so that he could tell me well done! I started writing an essay on Sarah Kane only to find that there is virtually nothing written about her or her work! THankfully this book is pretty much exhaustive and was an absolute saviour for me! It is really interesting, and covers a lot of different aspects. There is a chapter on each play, including 4.48 Psychosis which is new enough to never be referred to in academic reading! As well as analysing her work there are also several chapters based round interviews with friends and people that she worked with, as well as reviews and comments on the first performance! If you like Sarah Kane then this is brillaint, if you're easily shocked then I wouldn't because Kane wasn't shy about what she wrote!

Defying Gravity- A Must Have Theatre Book, 09 Nov 2008
"Defying Gravity" is the authorized biography of the incredibly talented Stephen Schwartz the composer and lyricist of such hit shows as Godspell, Pippin, Children of Eden and a little global phenomenon you may know called "Wicked". The author's love and respect for the art form is apparant in every page. The book is written in an extremely fresh, balanced and informative manner. Apart from packing in lots of extremely interesting interviews, stories and background to Mr. Schwartz's career there is also the fascinating, behind the scenes story of the creation of "Wicked".

For fans of the show (and you know who you are) this is a unique opportunity to follow a major theatrical event from first drafts to opening night. Fans will love reading about the writing process, the rehearsals and eventual worlwide success. Author Carol De Giere follows the shows journey and has lifted the curtain on this emerald city musical allowing fans a rare insight into the creative process and work that go into creating a hit musical!

The book will appeal to both fans of Stephen Schwartz and those interested in how this most collaborative of art forms springs to life. Carol De Giere poses insightful questions into where good ideas come from, the importance of workshopping, team work, learning from mistakes and picking production teams with clear visions. If anyone is about to embark on writing a musical after reading this you will be much better informed on how to create a coherent, strong show whilst avoiding some pitfalls.

This is one of those rare theatre books that is entertaining, detailed and accomplished. After reading it it made me want to see Mr. Schwartz's other shows and re-visit "Wicked". If a theatre book can encourage audiences into a theatre then it must be good! Musical theatre books rarely capture both the pain and excitement of creation. This book certainly does.

A wickedly wonderful read.
















Buy it! Buy it now! And read it in two days - mind blowing!, 28 Jul 2008
This book is wonderfully practical, without omitting the philosophy of Improv that makes it the exciting, living art form that it is. Salinsky and Frances-White have brought the pages of their manual alive with anecdotes from their vast experience that prove the power of narrative and make this book not only informative but entertaining in its own right. The personalities of the writers themselves as well as the practitioners they interview leap out of the pages in glorious 3D. This is not your average "how to" book. The authors have been very generous in sharing their experience. There is not only a section on "How to Improvise" where they have given the reader their own Level One syllabus, but a very useful section on how to make money from this gloriously ephemeral art. They are generously providing the reader, whether a teacher or student of improv, with the werewithal to make a living doing the thing they love. This is a book on Improv written with the spirit of Improv that should go on the shelf alongside the improv classics, Impro, Impro for Storytellers and Truth in Comedy - superb!

Worth every penny already , 17 Jul 2008
To be honest, I haven't read the whole book yet, it has not been out for very long and I only, finally, got hold of it a couple of days ago, and will be writing a more comprehensive review once I have actually finished it and absorbed it's lessons. So far though, having just finished reading the very first chapter of the 'how to improvise' section, this book has made me extremely happy, it is well written, and is much more than just a rehashing of Keith Johnstone's Impro. Keith's work and theories are often cited and, since Impro is such a phenomenal book, that can only be a good thing. But what these authors do very well is actually TEACH YOU HOW TO IMPROVISE! I have found what little i have read to be pleasantly accessible and effective, possibly life altering. In just two days I have made the change from being an uptight, easily bored and anti-social being to the open, creative, constantly fascinated, smiley sort (who no longer believes that the word 'content' was invented by marketers trying to push positive psychology and it's products down our throats). In two days, and without being sick in my hands. I mention this only because the ability to act confidently and without sublimating is essential to the wannabe improviser. Ahem. Informative, good layout and entertaining examples, if your even remotely interested in this fascinating medium/storytelling/self improvement to name but a few, this book is definitely worth reading. From what I have read so far anyway, it works and I cant wait to finish it and write a 'proper' review.

Terrific Book, 07 Jul 2008
This is the long-awaited 'how-to' guide by my two colleagues at the Spontaneity Shop - the fruit of long experience teaching, directing and performing.

Fascinating sections on narrative (usually neglected by Impro manuals with the honourable exception of Keith Johnstone) and on diagnosing and curing performer's tendencies and difficulties. This book manages to be practical and readable - especially useful for teachers everywhere.

Messy, rambling pile of good ideas, 03 Dec 2007
Although true you will probably find this book largely incomprehensible to begin with, as a piece of philosophy of theatre it is actually really quite good. This is a book for enthusiasts, able readers and people who don't mind having to really think about what they are coming in contact with. Artuad's ideas are really quite 'lofty', if you know what i mean, and some have claimed they are impossible to put into practice (although I am not so sure). To really crack Artaud you need someone else to discuss it with and both of you need to have a sound point of reference; you need to know drama. If you do however, you'll find the discussions that revolve around this book throughly enjoyable and the ideas that it will bring about you should find actually pertinent to practical drama work.

Some sections are better than others, but i strongly recommend chapter 2 ('Metaphysics and the Mise En Scene") because its fantastic. I say this because during my A-level Drama course I found this section immensely important in my understanding of the subject and our group utilised several elements of the theory in our own production. As I understand it, in this chapter Artuad makes the argument that modern theatre is tyrannised by dialogue and the written word, at the expense of all the theatrics of the stage, which actually limits the potential emotional impact of the piece. For Artaud the stage is a concrete physical place which needs to be filled with its own concrete physical language, not simply that of words. Artaud seems to feel the purpose of theatre is to induce a massive emotional impact on the audience member which is their source of meaning, not prepared meaning in dialogue. This should give you an idea of the complexity, but at the same time quality, of Artauds ideas.

I give the book 4 stars because, although some might give it 5 for its great ideas, it is really quite unaccessible and some parts are arguably much less useful than others.

You need a reader, 06 Aug 2007
When I first read Artuad, I was completely confused. This book is written in metaphore and I strongly recommend that you buy a reader to guide you through. In particular, I recommend Lee Jamieson's book entitled:

Antonin Artaud: From Theory to Practice.

It really opens up new avenues in The theatre and its Double and is an indespensible companion. Alongside Lee Jamieson's book, Artaud will change your whole view of theatre!!!

Good if you are interested in Artaud, 06 Aug 2007
As when I bought this book I was studying Artaud, I found it incredibly useful. It is an insight into Artaud's mind as he tends to write down exactly what he is thinking, although he often contradicts himself. It is also often amusing. I feel if you are studying Artaud, or putting on a production in Artaudian style this book is incredibly useful.

However I do not believe it would be as helpful if you are searching for tips about theatre in general as Artaud has a very unique style.

It is fascinating to see Artaud come up with ideas like street theatre without giving it a name that we now see as commonplace in main cities.

A well put together book, 15 Sep 2008
As an introduction to theatre theory this book is a pleasure to read, and what's more - it is understandable! So many authors of these type of books write with their head in the clouds, flexing their vocabulary muscles so much that it becomes a bore to read. No so with this. It is a well focused down to earth book that gets to the point. Well recommended.

In depth and multi-dimensional, 25 Apr 2007
Fortier somehow masters an introduction to many theoretical perspectives and their relation to theatre in a relatively small volume. The book focuses on theatre as performed rather than as writen.

After consideration of the various ways in which theatre and theory can interact, Fortier dedicates nine chapters to nine theoretical perpectives. Each chapter outlines the major approaches and writings in the field and inter-relates them to oneanother before giving a few examples of how the theory can be applied to certain appropiately selected performances.

The first 3 chapters (Semiotics, Phenomenology, Post-strucuralism) are geared towards the relationship to text.
The second 3 chapters (Psychoanalytic, Feminist, Reception) is conscious of subjectivity as motivation of practitioners.
The third 3 chapters (Materialist, Post-modernism, Post-colonial) is geared towards theatre's relationship to 'the outside world'.

The writing style is very open and avoids any dogmatic statements; which can be annoying if you are trying to find quick answers or a definition of a theory, but is an overall strength as it provokes a deeper understanding.

This is the only book I know of which relates more than one theory specifically to theatre. It is also rare to find works that inter-relate more than two theories. It is supprising "Theory/Theatre" is so easy to follow.

It breifly covers a magnitude of practitioners and theorists, then closes with a comprehensive list of further works for each area. It includes a glossary and bibliography.

an essential read, 26 Jul 2005
To anyone studying or interested in modern theatre movements and literary critism this book surely is a must. Fortier's language is concise and defined and allows for confortable reading. For anybody studying theatre, especially before you get into an exam this book is essential and key to hightened understanding.
truly recommended

Best present ever!, 26 Dec 2007
I was given this beautiful book after my friend discovered I had my own wish list. It really is a wonderful collection of photographs and stories from an enchanted era. I know I will look at this book for inspiration again and again. Truly fabulous!

Pretty things indeed, 17 Nov 2007
This book is beautifully presented and contains a fantastic amount of information on the burlesque queens, their costumes and their lives.

A Beautiful Book, 21 Feb 2007
This is a beautiful book and would make a gorgeous present or look good on your coffee table- the cover itself is lovely. It is packed full of amazing pictures of burlesque queens and their costumes with great detail- copies of photos, handwritten notes and scraps of material. My only criticism is that the author sometimes appears quite naive and narcissistic- with a few photos of herself wearing the queens costumes- why? Apart from this it is a very sumptuous, glamorous, escapist book that you can loose yourself in.

A Comprehensive Guide for an Important Playwright, 29 Mar 2006
No doubt Sarah Kane will attract much attention from students over the next few years as the forerunner of the 'in yer face' sensibility and one of the least studied and most talked about playwrights of the 20th century. Thankfully Sauders' comprehensive study is a very useful work to fill the academic void that surrounds this important playwright. It gives useful background, influences and reactions to all of Kane's plays in significant depth. It also includes many useful interviews and the introduction shows great insight into the state of British theatre during the 1990s. If you are a fan of Sarah Kane, or want to write an essay on her then currently this is by far the most important work to read.

A must for Kane and Experimetal Theatre, 13 Mar 2004
If you like or are studying Kane then this book is essential. Its also a fantastic aid for experimental in-yer-face theatre as it comments not only on the specifics of Kane's work, but gives details of how performances were staged, providing glimpses and ideas for visualising plays with minimal stage and character descriptions, like Martin Crimp's work for instance. I used this as a secondary source for my dissertation and it became a sort of bible. I've never regretted buying it.

Buy it it's great!, 18 Dec 2003
After using this in one of my essays on contemporary playwrights by lecturer made a point of hunting me down just so that he could tell me well done! I started writing an essay on Sarah Kane only to find that there is virtually nothing written about her or her work! THankfully this book is pretty much exhaustive and was an absolute saviour for me! It is really interesting, and covers a lot of different aspects. There is a chapter on each play, including 4.48 Psychosis which is new enough to never be referred to in academic reading! As well as analysing her work there are also several chapters based round interviews with friends and people that she worked with, as well as reviews and comments on the first performance! If you like Sarah Kane then this is brillaint, if you're easily shocked then I wouldn't because Kane wasn't shy about what she wrote!

Defying Gravity- A Must Have Theatre Book, 09 Nov 2008
"Defying Gravity" is the authorized biography of the incredibly talented Stephen Schwartz the composer and lyricist of such hit shows as Godspell, Pippin, Children of Eden and a little global phenomenon you may know called "Wicked". The author's love and respect for the art form is apparant in every page. The book is written in an extremely fresh, balanced and informative manner. Apart from packing in lots of extremely interesting interviews, stories and background to Mr. Schwartz's career there is also the fascinating, behind the scenes story of the creation of "Wicked".

For fans of the show (and you know who you are) this is a unique opportunity to follow a major theatrical event from first drafts to opening night. Fans will love reading about the writing process, the rehearsals and eventual worlwide success. Author Carol De Giere follows the shows journey and has lifted the curtain on this emerald city musical allowing fans a rare insight into the creative process and work that go into creating a hit musical!

The book will appeal to both fans of Stephen Schwartz and those interested in how this most collaborative of art forms springs to life. Carol De Giere poses insightful questions into where good ideas come from, the importance of workshopping, team work, learning from mistakes and picking production teams with clear visions. If anyone is about to embark on writing a musical after reading this you will be much better informed on how to create a coherent, strong show whilst avoiding some pitfalls.

This is one of those rare theatre books that is entertaining, detailed and accomplished. After reading it it made me want to see Mr. Schwartz's other shows and re-visit "Wicked". If a theatre book can encourage audiences into a theatre then it must be good! Musical theatre books rarely capture both the pain and excitement of creation. This book certainly does.

A wickedly wonderful read.
















Buy it! Buy it now! And read it in two days - mind blowing!, 28 Jul 2008
This book is wonderfully practical, without omitting the philosophy of Improv that makes it the exciting, living art form that it is. Salinsky and Frances-White have brought the pages of their manual alive with anecdotes from their vast experience that prove the power of narrative and make this book not only informative but entertaining in its own right. The personalities of the writers themselves as well as the practitioners they interview leap out of the pages in glorious 3D. This is not your average "how to" book. The authors have been very generous in sharing their experience. There is not only a section on "How to Improvise" where they have given the reader their own Level One syllabus, but a very useful section on how to make money from this gloriously ephemeral art. They are generously providing the reader, whether a teacher or student of improv, with the werewithal to make a living doing the thing they love. This is a book on Improv written with the spirit of Improv that should go on the shelf alongside the improv classics, Impro, Impro for Storytellers and Truth in Comedy - superb!

Worth every penny already , 17 Jul 2008
To be honest, I haven't read the whole book yet, it has not been out for very long and I only, finally, got hold of it a couple of days ago, and will be writing a more comprehensive review once I have actually finished it and absorbed it's lessons. So far though, having just finished reading the very first chapter of the 'how to improvise' section, this book has made me extremely happy, it is well written, and is much more than just a rehashing of Keith Johnstone's Impro. Keith's work and theories are often cited and, since Impro is such a phenomenal book, that can only be a good thing. But what these authors do very well is actually TEACH YOU HOW TO IMPROVISE! I have found what little i have read to be pleasantly accessible and effective, possibly life altering. In just two days I have made the change from being an uptight, easily bored and anti-social being to the open, creative, constantly fascinated, smiley sort (who no longer believes that the word 'content' was invented by marketers trying to push positive psychology and it's products down our throats). In two days, and without being sick in my hands. I mention this only because the ability to act confidently and without sublimating is essential to the wannabe improviser. Ahem. Informative, good layout and entertaining examples, if your even remotely interested in this fascinating medium/storytelling/self improvement to name but a few, this book is definitely worth reading. From what I have read so far anyway, it works and I cant wait to finish it and write a 'proper' review.

Terrific Book, 07 Jul 2008
This is the long-awaited 'how-to' guide by my two colleagues at the Spontaneity Shop - the fruit of long experience teaching, directing and performing.

Fascinating sections on narrative (usually neglected by Impro manuals with the honourable exception of Keith Johnstone) and on diagnosing and curing performer's tendencies and difficulties. This book manages to be practical and readable - especially useful for teachers everywhere.

The best theatre book I've ever read, 05 Nov 2001
This book gives an in depth look at all theatre aspecys and if you're atheatre studies student like me then you should have this book. It has a great structure to it and it is clear and easy to understand.

Messy, rambling pile of good ideas, 03 Dec 2007
Although true you will probably find this book largely incomprehensible to begin with, as a piece of philosophy of theatre it is actually really quite good. This is a book for enthusiasts, able readers and people who don't mind having to really think about what they are coming in contact with. Artuad's ideas are really quite 'lofty', if you know what i mean, and some have claimed they are impossible to put into practice (although I am not so sure). To really crack Artaud you need someone else to discuss it with and both of you need to have a sound point of reference; you need to know drama. If you do however, you'll find the discussions that revolve around this book throughly enjoyable and the ideas that it will bring about you should find actually pertinent to practical drama work.

Some sections are better than others, but i strongly recommend chapter 2 ('Metaphysics and the Mise En Scene") because its fantastic. I say this because during my A-level Drama course I found this section immensely important in my understanding of the subject and our group utilised several elements of the theory in our own production. As I understand it, in this chapter Artuad makes the argument that modern theatre is tyrannised by dialogue and the written word, at the expense of all the theatrics of the stage, which actually limits the potential emotional impact of the piece. For Artaud the stage is a concrete physical place which needs to be filled with its own concrete physical language, not simply that of words. Artaud seems to feel the purpose of theatre is to induce a massive emotional impact on the audience member which is their source of meaning, not prepared meaning in dialogue. This should give you an idea of the complexity, but at the same time quality, of Artauds ideas.

I give the book 4 stars because, although some might give it 5 for its great ideas, it is really quite unaccessible and some parts are arguably much less useful than others.

You need a reader, 06 Aug 2007
When I first read Artuad, I was completely confused. This book is written in metaphore and I strongly recommend that you buy a reader to guide you through. In particular, I recommend Lee Jamieson's book entitled:

Antonin Artaud: From Theory to Practice.

It really opens up new avenues in The theatre and its Double and is an indespensible companion. Alongside Lee Jamieson's book, Artaud will change your whole view of theatre!!!

Good if you are interested in Artaud, 06 Aug 2007
As when I bought this book I was studying Artaud, I found it incredibly useful. It is an insight into Artaud's mind as he tends to write down exactly what he is thinking, although he often contradicts himself. It is also often amusing. I feel if you are studying Artaud, or putting on a production in Artaudian style this book is incredibly useful.

However I do not believe it would be as helpful if you are searching for tips about theatre in general as Artaud has a very unique style.

It is fascinating to see Artaud come up with ideas like street theatre without giving it a name that we now see as commonplace in main cities.

A well put together book, 15 Sep 2008
As an introduction to theatre theory this book is a pleasure to read, and what's more - it is understandable! So many authors of these type of books write with their head in the clouds, flexing their vocabulary muscles so much that it becomes a bore to read. No so with this. It is a well focused down to earth book that gets to the point. Well recommended.

In depth and multi-dimensional, 25 Apr 2007
Fortier somehow masters an introduction to many theoretical perspectives and their relation to theatre in a relatively small volume. The book focuses on theatre as performed rather than as writen.

After consideration of the various ways in which theatre and theory can interact, Fortier dedicates nine chapters to nine theoretical perpectives. Each chapter outlines the major approaches and writings in the field and inter-relates them to oneanother before giving a few examples of how the theory can be applied to certain appropiately selected performances.

The first 3 chapters (Semiotics, Phenomenology, Post-strucuralism) are geared towards the relationship to text.
The second 3 chapters (Psychoanalytic, Feminist, Reception) is conscious of subjectivity as motivation of practitioners.
The third 3 chapters (Materialist, Post-modernism, Post-colonial) is geared towards theatre's relationship to 'the outside world'.

The writing style is very open and avoids any dogmatic statements; which can be annoying if you are trying to find quick answers or a definition of a theory, but is an overall strength as it provokes a deeper understanding.

This is the only book I know of which relates more than one theory specifically to theatre. It is also rare to find works that inter-relate more than two theories. It is supprising "Theory/Theatre" is so easy to follow.

It breifly covers a magnitude of practitioners and theorists, then closes with a comprehensive list of further works for each area. It includes a glossary and bibliography.

an essential read, 26 Jul 2005
To anyone studying or interested in modern theatre movements and literary critism this book surely is a must. Fortier's language is concise and defined and allows for confortable reading. For anybody studying theatre, especially before you get into an exam this book is essential and key to hightened understanding.
truly recommended

Best present ever!, 26 Dec 2007
I was given this beautiful book after my friend discovered I had my own wish list. It really is a wonderful collection of photographs and stories from an enchanted era. I know I will look at this book for inspiration again and again. Truly fabulous!

Pretty things indeed, 17 Nov 2007
This book is beautifully presented and contains a fantastic amount of information on the burlesque queens, their costumes and their lives.

A Beautiful Book, 21 Feb 2007
This is a beautiful book and would make a gorgeous present or look good on your coffee table- the cover itself is lovely. It is packed full of amazing pictures of burlesque queens and their costumes with great detail- copies of photos, handwritten notes and scraps of material. My only criticism is that the author sometimes appears quite naive and narcissistic- with a few photos of herself wearing the queens costumes- why? Apart from this it is a very sumptuous, glamorous, escapist book that you can loose yourself in.

A Comprehensive Guide for an Important Playwright, 29 Mar 2006
No doubt Sarah Kane will attract much attention from students over the next few years as the forerunner of the 'in yer face' sensibility and one of the least studied and most talked about playwrights of the 20th century. Thankfully Sauders' comprehensive study is a very useful work to fill the academic void that surrounds this important playwright. It gives useful background, influences and reactions to all of Kane's plays in significant depth. It also includes many useful interviews and the introduction shows great insight into the state of British theatre during the 1990s. If you are a fan of Sarah Kane, or want to write an essay on her then currently this is by far the most important work to read.

A must for Kane and Experimetal Theatre, 13 Mar 2004
If you like or are studying Kane then this book is essential. Its also a fantastic aid for experimental in-yer-face theatre as it comments not only on the specifics of Kane's work, but gives details of how performances were staged, providing glimpses and ideas for visualising plays with minimal stage and character descriptions, like Martin Crimp's work for instance. I used this as a secondary source for my dissertation and it became a sort of bible. I've never regretted buying it.

Buy it it's great!, 18 Dec 2003
After using this in one of my essays on contemporary playwrights by lecturer made a point of hunting me down just so that he could tell me well done! I started writing an essay on Sarah Kane only to find that there is virtually nothing written about her or her work! THankfully this book is pretty much exhaustive and was an absolute saviour for me! It is really interesting, and covers a lot of different aspects. There is a chapter on each play, including 4.48 Psychosis which is new enough to never be referred to in academic reading! As well as analysing her work there are also several chapters based round interviews with friends and people that she worked with, as well as reviews and comments on the first performance! If you like Sarah Kane then this is brillaint, if you're easily shocked then I wouldn't because Kane wasn't shy about what she wrote!

Defying Gravity- A Must Have Theatre Book, 09 Nov 2008
"Defying Gravity" is the authorized biography of the incredibly talented Stephen Schwartz the composer and lyricist of such hit shows as Godspell, Pippin, Children of Eden and a little global phenomenon you may know called "Wicked". The author's love and respect for the art form is apparant in every page. The book is written in an extremely fresh, balanced and informative manner. Apart from packing in lots of extremely interesting interviews, stories and background to Mr. Schwartz's career there is also the fascinating, behind the scenes story of the creation of "Wicked".

For fans of the show (and you know who you are) this is a unique opportunity to follow a major theatrical event from first drafts to opening night. Fans will love reading about the writing process, the rehearsals and eventual worlwide success. Author Carol De Giere follows the shows journey and has lifted the curtain on this emerald city musical allowing fans a rare insight into the creative process and work that go into creating a hit musical!

The book will appeal to both fans of Stephen Schwartz and those interested in how this most collaborative of art forms springs to life. Carol De Giere poses insightful questions into where good ideas come from, the importance of workshopping, team work, learning from mistakes and picking production teams with clear visions. If anyone is about to embark on writing a musical after reading this you will be much better informed on how to create a coherent, strong show whilst avoiding some pitfalls.

This is one of those rare theatr