This is the first bibliography in its field, based on first-hand collations of the actual articles. International in scope, it includes publications found in public theatre libraries and archives of Barcelona, Berlin, Brussels, Budapest, Florence, London, Milan, New York and Paris amongst others. Over 3500 detailed entries on separately published sources such as books, sales and exhibition catalogues and pamphlets provide an indispensible guide for theatre students, practitioners and historians. Indices cover designers, productions, actors and performers. The iconography provides an indexed record of over 6000 printed plates of performers in role, illustrating performance costume from the 18th to 20th century.

This long-awaited bibliography of recent books about theatre architecture, scenography and costume, published with the support of Belgian Ministry of Culture and the «Théâtre & Publics» Association, has been prepared in collaboration with experts in five languages: English, French, German, Italian and Russian. This extensive bibliography, which meets the demands of the International Theatre Institute organizations and the International Organization of Scenographers, Theatre Architects and Technicians, will prove useful to theatre practitioners as well as to confirmed or young theatre scholars. Cette bibliographie rassemble un choix d'ouvrages sur le théâtre et l'architecture, la scénographie, le costume. Elle a bénéficié de la collaboration d'experts internationaux (anglais, français, allemands, italiens et russes). Répondant à la demande de l'IIT (Institut international du théâtre) et de l'OISTAT (Organisation internationale des scénographes, techniciens et architectes de théâtre), cette bibliographie en cinq langues est un précieux outil pour tout praticien et théoricien du théâtre.

Arts and Entertainment is a guide designed to help those interested in jobs in the arts and entertainment. This book helps readers explore jobs in the arts and entertainment industry.

Taking a global, multicultural, social, and economic perspective, this work explores the diverse and colourful history of human attire. From prehistoric times to the age of globalization, articles cover the evolution of clothing utility, style, production, and commerce, including accessories (shoes, hats, gloves, handbags, and jewellery) for men, women, and children. Dress for different climates, occupations, recreational activities, religious observances, rites of passages, and other human needs and purposes - from hunting and warfare to sports and space exploration - are examined in depth and detail. Fashion and design trends in diverse historical periods, regions and countries, and social and ethnic groups constitute a major area of coverage, as does the evolution of materials (from animal fur to textiles to synthetic fabrics) and production methods (from sewing and weaving to industrial manufacturing and computer-aided design). Dress as a reflection of social status, intellectual and artistic trends, economic conditions, cultural exchange, and modern media marketing are recurring themes. Influential figures and institutions in fashion design, industry and manufacturing, retail sales, production technologies, and related fields are also covered.

Daniel-François-Esprit Auber (1782-1871) was long considered one of the most typically French, as well as one of the most successful, of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opéra-comique La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber’s life was his meeting with the librettist Eugène Scribe (1791-1861), with whom he developed a long and hugely successful working partnership that only ended with Scribe’s death. La Part du Diable, first produced on 16 January 1843, proved to be one of Auber’s most popular works: 263 performances by 1881. It marks the beginning of the composer’s third creative period, characterized by a more lyrical manner, and moreover, is one of his best works, evincing a variety of effects, rhythmic combinations, finesse of orchestral detail, piquant and original harmony, verve and brio. The story, set around Madrid and Aranjuez, concerns the celebrated eighteenth-century castrato singer Farinelli (Carlo Broschi) (a travesti part), who was employed to sing in order to soothe King Ferdinand VI of Spain in his melancholia (played by Juana Rossi-Caccia). Farinelli’s sister Casilda was created by Anna Thillon; her admirer Rafaël d’Estuniga by the famous tenor Gustave Roger. The opera was long performed in Germany under the twin titles of Carlo Broschi and Des Teufels Anteil. The music of La Part du Diable is very effective in the lyrical moments, with most unusually differentiated movements in the ensembles. This book presents an insight into the life and work of Auber by close examination of one of his famous operas, with consideration of origins, casting, plot, and analysis of dramaturgy, musical style, and reception history. This volume provides the vocal/piano score of La Part du Diable, preceded by an introduction to the life and work of Auber, and a close reading of the opera. There are examples from the score, prints from the complete works of Scribe and other theatrical memorabilia, adding an important iconographical aspect to the general place and relevance of this work in nineteenth-century operatic culture.

Producing Dance integrates the entire creative team in dance production, creating a toolbox for success for all involved. It offers guidance in creating collaborative performances in both traditional and nontraditional spaces and covers evaluation, reflection, and opportunities for growth.

Successful costume design requires a solid foundation in general artistic principles and specific knowledge of how to apply those principles. Cunningham presents readers with just such a foundation and develops it to expose beginning costume designers to the myriad skills they need to develop in order to costume successful stage productions. She begins at the most basic conceptual level—reading plays from a costume designer's perspective. She then follows through with the practical considerations that must be considered at every stage of the costuming process—research, development, sketching, and costume construction. Cunningham has built on the long-standing success of the outstanding first edition with new figures and updates throughout the text, including 24 pages in full color. Examples have been selected from a wide range of stage productions representing a variety of designers, styles, and approaches. Interviews with award-winning designers from stage, film, and other media show the practical importance of the book's concepts. Every chapter incorporates material reflecting the ever-increasing impact of technology, especially computers, on costuming. New to this edition is an ancillary download package (available here), giving students a selection of basic figure drawings to serve as the base layer for digital renderings, ready-made forms and checklists for assembling and organizing costumes for shows, and a list of research and reference websites with easily clickable links.

This is the first bibliography in its field, based on first-hand collations of the actual articles. International in scope, it includes publications found in public theatre libraries and archives of Barcelona, Berlin, Brussels, Budapest, Florence, London, Milan, New York and Paris amongst others. Over 3500 detailed entries on separately published sources such as books, sales and exhibition catalogues and pamphlets provide an indispensible guide for theatre students, practitioners and historians. Indices cover designers, productions, actors and performers. The iconography provides an indexed record of over 6000 printed plates of performers in role, illustrating performance costume from the 18th to 20th century.