The Elements of Theatrical Expression puts forward 14 essential elements that make up the basic building blocks of theatre. Is theatre a language? Does it have its own unique grammar? And if so, just what would the elements of such a grammar be? Brian Kulick asks readers to think of these elements as the rungs of a ladder, scaling one after the other to arrive at an aerial view of the theatrical landscape. From such a vantage point, one can begin to discern a line of development from the ancient Greeks, through Shakespeare and Chekhov, to a host of our own contemporary authors. He demonstrates how these elements may be transhistorical but are far from static, marking out a rich and dynamic theatrical language for a new generation of theatre makers to draw upon. Suitable for directors, actors, writers, dramaturges, and all audiences who yearn for a deeper understanding of theatre, The Elements of Theatrical Expression equips its readers with the knowledge that they need to see and hear theatre in new and more daring ways.

This volume investigates the linguistic development of children with regard to their knowledge of the verb and its grammar. The selection of papers brings to researchers and in particular psycholinguists empirical evidence from a wide variety of languages from Hebrew, through English to Estonian. The authors interpret their findings with a focus on cross-linguistic similarities and differences, without subscribing to either a UG-based or usage-based approach.

This accessible book outlines the key ideas that define the global phenomenon of applied theatre, not only its theoretical underpinning, its origins and practice, but also providing eight real-life examples drawn from a diversity of forms and settings. The clearly arranged topic sections entitled When, What, Who, Why and Where emphasise the responsive nature of applied theatre, its social context and the importance of a beneficial outcome for participants, which can connect fields as disparate as health, criminal justice, education and migration. Labels and terms are explained, along with applied theatre’s core values, motivations and objectives, allowing the reader to build a coherent understanding of its distinguishing features. Applied Theatre: The Key Concepts is aimed at students, academics, artists and practitioners of applied theatre as well as those with an interest in this vital blend of social and creative practice.

In 1953, Samuel Beckett’s Waiting for Godot premiered at a tiny avant-garde theatre in Paris; within five years, it had been translated into more than twenty languages and seen by more than a million spectators. Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition. Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.

This introduction to drama explores the aims and techniques of the particular playwrights and their plays.

Theatre has provided many words and meanings which we use - ignorant of their origins - in everyday writing and speech. This is the first book to explore 2,000 theatre terms in depth, in some cases tracing their history over two and a half millenia, in others exploring expressions less than a decade old. Terms are defined, shown in use and cross-referenced in ways which will fascinate theatre-goers, help theatre students and encourage those engaged in the theatre to examine the familiar from new angles.

Edward Gordon Craig's ideas regarding set and lighting have had an enormous impact on the development of the theatre we know today. In this new and updated edition of his well-known study of Edward Gordon Craig, Professor Christopher Innes shows how Craig's stage work and theoretical writings were crucial to the development of modern theatre. This book contains extensive documentation and re-evaluates his significance as an artist, actor, director and writer. Craig is placed in historical context, and his productions are reconstituted from unpublished prompt-books, sketches, journals and correspondence. Most of the designs and photographs, and many of Craig's writings cited, are not available elsewhere in print. Readers will gain insight into a key period of theatrical history, the life of one of its most fascinating individuals, the nature of stage performance, and into revolutionary ideas that are still challenging today.

The past decade has seen tremendous advances in the study of G protein-coupled receptors (GPCRs), including the molecular cloning and identification of more than 100 hundred GPCR genes. But while GPCRs serve as targets for more than 300 medicines in the modern pharmacopoeia, the shrinking pool of known ligands and the continuing discovery of orphan GPCR genes have underscored the need for new approaches to ligand identification. Identification and Expression of G Protein-Coupled Receptors addresses this new direction in GPCR biochemistry-offering a definitive laboratory bench manual that emphasizes expression over primary cloning strategies. In a series of expert contributions by well-known researchers, this book provides detailed protocols for various expression systems-from bacteria to mammalian cells-as well as straightforward opinions on the advantages and shortcomings of each approach. Topics covered include: * Homology screening and the polymerase chain reaction in the cloning of GPCR genes * Cloning of GPCRs using mammalian cell expression * GPCR informatics and the orphan problem * The use of Xenopus laevis oocytes for the study of GPCRs * Stable expression of GPCRs in mammalian cells * Heterologous expression in primary cell cultures * Expression of GPCR in Escherichia coli * Large scale expression and purification of GPCRs in mammalian cells * High-level expression of GPCRs in the Baculovirus/Sf9 cell expression system * Expression of GPCRs in Drosophila Schneider 2 cells * Methods for genetic analysis and ligand identification using heterologous GPCRs expressed in Saccharomyces cerevisiae Supplemented with numerous photographs and illustrations, Identification and Expression of G Protein-Coupled Receptors is important reading for biochemists, pharmacologists, neuroscientists, structural biologists, and anyone involved in GPCR-based research. It delivers a wealth of useful advice, practical tips, and invaluable insight into trends at the cutting-edge of current research.

Singing on stage can be a daunting prospect for actors, particularly for those who have not sung before. Yet singing should be an essential part of every actor's toolkit. Singing on Stage: An Actor's Guide gives an insight for the first time into the vocal techniques and practical approaches that have been developed over generations as an integral part of the training at the Royal Academy of Dramatic Art. Jane Streeton and Philip Raymond are highly experienced performers and teachers; their book encourages each actor to explore their own authentic voice as opposed to offering a 'one-size-fits-all' or 'quick-fix' approach. Written in an accessible, friendly and enabling style, Singing on Stage: An Actor's Guide is packed with exercises to develop the actor's skills and gives an overview of: • elements of technique • how to work on a song • the process of singing theatrically • how to choose the best songs for you Featuring inspirational listening suggestions and the observations of successful performers and practitioners, Singing on Stage: An Actor's Guide is the must-have companion for complete beginners as well as for experienced actors who wish to develop their understanding of singing on stage.