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Homme de théâtre russe, universellement connu pour sa méthode de formation de l'acteur « le Système », co-fondateur et directeur du Théâtre d'Art de Moscou, acteur, metteur en scène, pédagogue, Konstantin Stanislavski (1863-1938) a laissé une importante correspondance qui témoigne de son trajet théorique et de sa longue pratique théâtrale. Les lettres ici présentées révèlent d᾿abord son infatigable curiosité qui le pousse à rencontrer les artistes les plus divers pour apprendre auprès d᾿eux, discuter de son approche du théâtre et du jeu. Grâce aux tournées internationales du Théâtre d᾿Art en 1906 et 1922-1924, sa renommée s᾿étend et les échanges se multiplient avec Craig, Duncan, Gémier, Hébertot, Maeterlinck, Reinhardt. La correspondance permet de découvrir aussi les sacrifices personnels consentis au nom de la grande œuvre : la création, l᾿administration, et la transmission du Théâtre d᾿Art de Moscou. À cet égard, les échanges avec l᾿autre directeur du Théâtre, Nemirovitch-Dantchenko, en disent long sur les difficultés de la cohabitation : pendant quarante ans, les deux directeurs ont tant bien que mal maintenu le cap dans les tempêtes des révolutions et des guerres,et ils ont réussi à sauver leur théâtre, au départ privé, puis nationalisé en 1919. Les lettres de Stanislavski permettent de suivre pas à pas la soviétisation de la compagnie qui faillit disparaître au début des années vingt comme bastion de l᾿art bourgeois mais qui fut choisie par Staline pour servir de modèle à toute l᾿URSS. Enfin, les lettres de Stanislavski racontent les angoisses de l᾿écriture du Système, les pressions idéologiques, les difficultés terminologiques, surmontées par la certitude que l᾿expérience d᾿une vie dans l᾿art servira d᾿exemple et enrichira les futurs comédiens.

Theater --- Production and direction.

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In Strategies for Success in Musical Theatre, veteran musical director and teacher Herbert Marshall provides an essential how-to guide for teachers or community members who find themselves in charge of music directing a show. Stepping off the podium, Marshall offers practical and often humorous real-world advice on managing auditions; organizing rehearsals; working with a choir, choreographer, and leads; how to run a sitzprobe, a technical rehearsal, and a dress rehearsal; how to manage the cast and crew energy for a successful opening night; and ways to end the experience on a high note for all involved.

Musicals --- Production and direction. --- Direction

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Motion pictures --- Production and direction.

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A comprehensive study of Ana Kokkinos' fictional oeuvre - one of Australia's most distinctive and critically successful filmmakers. Contains critical readings of all of her fictional films, particularly in relation to ethnicity, sex and sexuality. Focuses on the figure of the 'outsider' in Kokkinos' films. Available open access Ana Kokkinos is an Australian screenwriter, producer and director who has worked in film and television for almost thirty years. Best known for her fictional films - Antamosi, Only the Brave, Head On, The Book of Revelation and Blessed - her work is often bold and confrontational in its exploration of the alienation, estrangement and visceral distresses of those outside the mainstream. In the first major study of the director, Ana Kokkinos: An Oeuvre of Outsiders offers new readings of and across her fictional oeuvre by broadly tracing the deployment of the outsider as an organising motif.

Motion pictures --- Production and direction.

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At the turn of the twentieth century Italian opera participated to the making of a modern spectator. The Ricordi stage manuals testify to the need to harness the effects of operatic performance, activating opera's capacity to cultivate a public. This book considers how four operas and one film deal with their public: one that in Boito's Mefistofele is entertained by special effects, or that in Verdi's Simon Boccanegra is called upon as a political body to confront the specters of history. Also a public that in Verdi's Otello is subjected to the manipulation of contemporary acting, or one that in Puccini's Manon Lescaut is urged to question the mechanism of spectatorship. Lastly, the silent film Rapsodia satanica, thanks to the craft and prestige of Pietro Mascagni's score, attempts to transform the new industrial medium into art, addressing its public's search for a bourgeois pan-European cultural identity, right at the outset of WWI.

Opera --- Musical criticism --- Production and direction