(Part 2) Best theater books according to redditors
We found 1,606 Reddit comments discussing the best theater books. We ranked the 688 resulting products by number of redditors who mentioned them. Here are the products ranked 21-40. You can also go back to the previous section.
https://www.amazon.ca/Back-Stage-Guide-Management-3rd/dp/0823098028
You've got to take blocking/light/sound cue notes, call the show, hold talent accountable for call times, lots of paperwork... generally be in charge of the show when the director isn't there. As a disclaimer, I've never been a professional stage manager because it's way too much work, but I work in professional theater.
Here's a great story for you. Have you ever heard of Harpo Marx? Contrary to urban legend, he could talk perfectly fine in real life. He just chose to be quieter than most people.
Harpo eventually got famous enough to be invited to the Algonquin Round Table, known for their regular crowd of famous sharp wits always trying to verbally out-smart and out-troll each other.
As I remember from his autobiography, Harpo would just happily sit with that esteemed crowd just to listen and enjoy the scene. Eventually he wondered if he actually fit in their meetings because he rarely had much to say.
One day, Harpo expressed his concern to one of the other famed attendees at the Table.
The reply was something resembling this: since this was a crowd of talkers, having someone there who actually listened for a change made Harpo an extremely valuable and welcome member of the group. :)
(Disclaimer: I am quoting this from my memory of reading the book "Harpo Speaks!" many years ago. I know I got the general gist of the story correctly, but for exactness, you need to read the book.)
On the "10 Quick Steps" page you should see an "Add to Cart" button that takes you to PayPal. The Amazon link is broken.
mp3 download (via PayPal checkout) $35.00
Hardcover on Amazon $34.99
Paperback on Amazon $11.55
Kindle eBook on Amazon $13.79
I'm assuming that you guys are all experienced enough to teach the concepts, that's not the problem, the real question is about dealing with junior high students.
The one thing I know about kids is, in general, they looooove talking in pop culture and meme references. This is because these are "safe" sources of pre-approved, non-ostracizing humor. Which of course runs a bit antithetical to how improv works. So you're gonna have to spend a little extra time up front building that atmosphere that praises risk and originality and discourages exclusion and judgement.
Asaf Ronen's Directing Improv has a chapter devoted teaching kids and teens that I recommend checking out, and he covers the above concept.
Show Networks & Control Systems was the biggest help for me. Its been awhile since I read it and it may be slightly dated but it was very well put together. I still put it on the "must read" list for our interns.
He already made a book titled "Just A Geek".
Aerodynamics of Yes by Christian Capozzoli
Improvise (Scenes from the inside out) by Mick Napier
Directing Improv by Asaf Ronen
https://www.amazon.com/Show-Networks-Control-Systems-Entertainment/dp/0692958738/
See if you can ASM or be a PA for a show. See if there is a theatre that will allow you to observe the SM operations for a show. There are multiple ways you can get involved.
Stage Management Resource is a great source for advice.
I also recommend The Backstage Guide to Stage Management. It’s a book I had to read when I was in college and I still reference it for when I SM.
He does.
The LCA version was not actually created for TV, though that's the only place it aired. The head of Universal at the time was convinced Gilliam was making an unmarketable downer of a film. He kept trying to push his own vision into Gilliam's production, even going so far as to have the LCA edit made without Gilliam's permission with the intent of it being used as the theatrical release. Egos and lawyers became involved. Eventually Gilliam's cut was the one released theatrically, but Universal aired the LCA version on TV as a final fuck you to Gilliam.
The book The Battle of Brazil covers it all very well and is a great account of what happens when auteurs and money men collide. I highly recommend it.
Edits to fix crosslinks. Thanks to /u/few23 for making the distinction between "cut for TV" and "aired on TV", and the YouTube link to the Battle of Brazil documentary.
At this point, total is $500..
Instructions to student:
Read and study Three Uses for a Knife and Strong Magic. Notice the theories at work in other forms of media beyond magic.
Watch Johnny Thompson and Ammar vids and observe the theories in practice. Work through Amateur Magician’s Handbook and Ammar vid.
Read Five Points in Magic.
Read Essential Dai Vernon and note how the five points work with those effects.
Read Conjurors Psychological Secrets.
Learn and practice Thompson effects.
Pick and choose through remaining books what you want to learn.
Keep re-reading theory books and modifying your routines.
[Production Stage Management for Broadway] (https://www.amazon.com/Production-Stage-Management-Broadway-Opening/dp/0896762939/ref=pd_sim_14_8?_encoding=UTF8&pd_rd_i=0896762939&pd_rd_r=d3da8c47-be70-11e8-9d90-8b493ea953ed&pd_rd_w=qpTgQ&pd_rd_wg=2Vf7g&pf_rd_i=desktop-dp-sims&pf_rd_m=ATVPDKIKX0DER&pf_rd_p=18bb0b78-4200-49b9-ac91-f141d61a1780&pf_rd_r=EJNCW54K8P5G2AVSCW2P&pf_rd_s=desktop-dp-sims&pf_rd_t=40701&psc=1&refRID=EJNCW54K8P5G2AVSCW2P) is a seriously good book, but it's very specific to Commercial style PSMing.
[Stage Manager's Toolkit] (https://www.amazon.com/dp/1138183776/ref=sspa_dk_detail_0?psc=1) is a great book if you're getting started, it's the Freshman textbook at my University. [The first addition] (https://www.amazon.com/Stage-Managers-Toolkit-Communication-Performance/dp/0415663199) is cheaper but it's a tad dated by now.
[The Backstage Guide to Stage Management] (https://www.amazon.com/Back-Stage-Guide-Management-3rd/dp/0823098028/ref=pd_sim_14_1?_encoding=UTF8&pd_rd_i=0823098028&pd_rd_r=a2cb0a09-be70-11e8-b3a9-1f5f95d9d540&pd_rd_w=ebcVw&pd_rd_wg=LVsxu&pf_rd_i=desktop-dp-sims&pf_rd_m=ATVPDKIKX0DER&pf_rd_p=18bb0b78-4200-49b9-ac91-f141d61a1780&pf_rd_r=XKJPTT300SQHAVA9TJKW&pf_rd_s=desktop-dp-sims&pf_rd_t=40701&psc=1&refRID=XKJPTT300SQHAVA9TJKW) is great but a little dated. It has a great section on Opera stage management which can be rare.
Also, if you're doing some reading and you haven't learned this already, definitely read up on [how to read music!] (https://www.musicnotes.com/blog/2014/04/11/how-to-read-sheet-music/)
Three Uses of the Knife - David Mamet
One of my favorites, and pretty heady stuff, but Mamet plays no games when it comes to drama.
I agree. Your hunger is an incredibly good thing. But you should always be training and stretching If you're interested in some books on technique here's what I've been reading.
A Practical Handbook for the Actor by a bunch of interesting people. It's a practical, repeatable, and analytical way of approaching acting. While it is best practiced in a classroom with a knowledgable instructor, the text is good enough to stand on it's own.
History of the Theatre by Brockett is a longggggg read. But it's detailed and a great perspective on what was happening when in relation to plays. Also you can older editions for way way less.
I'm just now reading Sanford Meisner on Acting and that's been an interesting so far, it has a lot more of a narrative which is enjoyable to read.
Hope any of that helps someone!
Read this book
Comedy is the most difficult genre in TV Land. Especially multi-cam.
I do my character and organic work like I would with anything else except that I'll recognize that I'm usually dealing with very high stakes over very small matters which is what makes it funny. It's also written in a very specific rhythm and contains a lot of script devices like threes, reversals, lists, builds, antitheticals, and callbacks that it's very helpful to know how to identify and execute. Thus it's a lot like scansion in classical verse or reading a piece of music meaning that unlike with some drama, I absolutely will not change a word or ignore punctuation because that would throw the rhythm off.
If you want to read a good book on how it's typically written and executed, check out The Eight Characters of Comedy by Scott Sedita.
Video: Lessons from the Screenplay’s Black Swan vs Whiplash
Script: Monster
Book: Three Uses of the Knife
not necessarily. characters commonly get paired off for stories, see IASIP.
the basic wisdom is that there are 6 to 8 archetypes of sitcom character. (this book lays out 8: https://www.amazon.com/Eight-Characters-Comedy-Sitcom-Writing/dp/0977064123)
in multi-cams all of these characters often inhabit the same main setting (Cheers, Big Bang Theory), and sometimes in single cam too (The Office, P&R, 30 Rock).
and time allotted per story is usually a hierarchy. A story might be 13 minutes, B story 5 minutes, and C story 2 minutes (with 3 beats throughout the show).
also OP, check out Ellen Sandler's TV Writer's Workbook. She's teaches you to track # of characters/scenes. if you break down your favorite shows/eps or at least shows you think are similar to your idea, you'll get a sense of your answer.
My undergrad prof used The Back Stage Guide to Stage Management by Thomas A. Kelly for our SM class. I thought it was really helpful!
Harpo Speaks...?
Oh yeah... As I recall, he actually did have some emotional issues and depression over people quite stupidly conflating his "actual personal actor" self with his "at times unfortunately written" character, and being inundated with very unpleasant things from said "fans" of the show.
But he's over that now; he actually wrote several books about his experiences: Dancing Barefoot (actually a hard-copy of some of his anecdotes from his blog), Just A Geek, and The Happiest Days of Our Lives, and probably more, which chronicle his development and his literal apotheosis beyond the mistaken but very understandable (to a very young, developing teenage mind) idea that the failures of Wesley Crusher were his, Wil Wheaton's, fault. (These books are ALL out of print on Amazon, and their prices here unfortunately have skyrocketed as a result; perhaps Wil has links to other storefronts where they can be bought.)
He's an entertaining guy to watch, a humorous but also very inspiring guy to read.
Color theory wise: Light Fantastic by Max Keller. The book is also gorgeous.
https://www.amazon.com/Actors-Life-Survival-Guide/dp/1944648224
I'd highly recommend getting a copy of Asaf Ronen's Directing Improv. It guides you through some of the various basic methods for how improv groups are organized and run, how to organize a rehearsal, how to plan for the development of your team and your players. It's also pretty short and easy to read.
https://www.amazon.com/Directing-Improv-Show-Way-Getting/dp/0977033902
Most groups i'm in have some sort of opening. Whether that's an invocation, a scene paint, or something totally organic I usually don't go from suggestion to scene except in like 1 group.
But I do have a lot to say on the matter.
First, using the sample suggestion of 'Torch'. I'd probably start a scene holding a fucking torch. See where that leads me. Just knowing me I'd probably play a troll-y like character in a cave or something. For some people this is way too on the nose. But in my personal approach I do not A to C think. I just go right with my gut, right away. It gets me out of my head and removes judgement from my choices because I know going in if I follow what I feel, its the right choice. For beginners, I'd coach them to try to avoid making the scene about the torch, and instead make it about each other, hopefully the torch becomes important later organically.
However, there is something I've been experimenting with and have had some AWESOME success with. Basically, I'll take the suggestion and turn it into a verb or an action somehow. You then go into the scene with that action. Just in the nature of it being a verb or an action you will immediately have a want and you start the scene in the middle. You do this all without thinking about those things (which is my favorite thing about it, this just happens).
It also typically gives you a reason to go up and touch your scene partner. Which is always a strong start to a scene. There's just something about physical contact that establishes so much without words. Its probably because we communicate heavily in body language.
Here's another example using torch and this 'action' method. I'd take 'Torch' and place it into either of these sentences and see if it works. 'I you.' Or - 'You me.' Torch works in both of those. Sometimes you have to work with the suggestion a little bit to get it to work. But if I go into a scene with 'I Torch You.' holy shit, that has a ton of meat to it. I could slowly be trying to cook you. I could hit it hard immediately and turn into a maniac that is tying you up onto a stake to burn you (that's so dark, but I love it). That's the initiation. And its quick to go from torch to that. If I like 'You Torch Me' better I might choose to play it like the last thing my scene partner said has emotionally burnt me. I'm going to act hurt. OR I could go with the longer 'want' and try to push the scene towards my scene partner 'torching' me, either literally or metaphorically (I'd probably go with trying to get them to emotionally burn me or something).
If you're interested in coaching this kind of thing I HIGHLY recommend this book: Actions: The Actors' Thesaurus
It's basically a book full of action verbs and I've found in using them people play differently oftentimes more free, fun, and intense.
I teach voice workshops sometimes. Not singing, but speaking voice for actors and stuff
The industry standard texts for actors are usually Linklater (for vocal quality) and Skinner (for clarity of speech).
This book is fucking legendary, though perhaps more technical and in depth than you're interested in and also a little formal / outdated. If you follow all the vowel sounds perfectly you'll end up sounding like a British twat (especially with the "ah" sound as in "father" and the "all" sound, just do what's natural). But everything about the consonants pretty much holds up.
This book is a really good place to start. Most of the exercises revolve around freeing the "channel" from your diaphragm through your mouth and making sure you have both the dexterity to communicate with ease and the proprioception (imagery and understanding of the body) to adapt your voice as needed. If you've seen The King's Speech, that's pretty much all the stuff he's doing during that montage where he's shaking his fists around and yelling and stuff. Practice a few times a week.
I'm sure looking up youtube videos of Linklater and Roy Hart technique is also useful if you don't want to buy the book.
Practicing by reading aloud, as others have mentioned, is also really helpful. Generally, the verb is the most important word of the sentence, but it's also prohibitive to set too many rules for yourself in terms of cadence and emphasis since contemporary speech is pretty organic and you don't want to sound like a machine. Also listening to your favorite actors / singers / etc with a critical mind can be helpful, it isn't really useful to try to emulate them since the mechanics of everyone's voices are vastly different, but understanding the quality of their voice and finding that same quality within your own voice is a nice way to start.
Not bad for a first try.
There are a number of simple casting material pewter can go into but one of the cheapest is plaster. A well made plaster mold will survive several dozen pewter casting if treated properly.
You can buy a 15 or 25 lb bag at the local big box hardware store for under $20, or smaller amounts from an art supply store, though it will cost more per lb.
PLASTER MOLD NEED TO BE BONE DRY BEFORE YOU POUR HOT METAL INTO THEM THEY CAN EXPLODE OTHERWISE. Please wear the proper safety equipment, the bare minimum of a face shield and leather gloves,ideally with an leather apron and leather boots. How long it takes to dry depends upon the size and thickness of the mold and the humidity level . A 3"x 5" x 5" mold will be dry in about 5-7 days if it is not too humid. A way to speed it up is to put your oven on its lowest setting and leave them in there for 8-10 hours. They will be significantly lighter when dry, and will have feel a bit like fired clay.
You might consider making 2 part molds there are a great deal of references out there for that info, here is a video that covers the basics. (this video for clay reproductions but the basics still apply. You would additionally need to also carve or cast in a pouring cup and channel called a gate or sprue into the plaster to allow you to pour in the pewter.)
There is scattered info on mold making on the web, but plenty of solid books on the topics. I would recommend The Prop Builder's Molding & Casting Handbook
It doest talk too much about metal casting, but it covers a lot of the info for general mold making, and is a great resource. You might also look into Practical Casting: A Studio Reference by Tim McCreight is deals with metal casting on smaller jewelry scale and covers other simple molding materials.
I have also heard MDF molds work pretty well for a few trys, though I never have done it personally. Good luck!
Here’s one book:
Show Networks and Control Systems
Read 'Harpo Speaks!' by Harpo Marx. That man went from dire poverty to the kind of worldwide fame that is rare even today, and still kept his sense of humour. It's a great read.
If your looking to get into cinematography, you should check out "Cinematography" and "Motion Picture and Video Lighting" by Blain Brown. Anything from Kris Malkiewicz is worth a read too. "The Grip Book" by Michael Uva, "Set Lighting Technician's Handbook" by Harry Box and "The Camera Assistant" by Doug Hart are all excellent books for more trade specific people.
Edit for links:
http://www.amazon.com/Cinematography-Practice-Edition-Cinematographers-Directors/dp/0240812093/ref=sr_1_1?ie=UTF8&qid=1333841096&sr=8-1
http://www.amazon.com/Motion-Picture-Lighting-Second-Edition/dp/0240807634/ref=sr_1_3?ie=UTF8&qid=1333841096&sr=8-3
http://www.amazon.com/s/ref=nb_sb_ss_i_2_7?url=search-alias%3Daps&field-keywords=kris+malkiewicz&sprefix=Kris+ma%2Caps%2C359&rh=i%3Aaps%2Ck%3Akris+malkiewicz&ajr=0
http://www.amazon.com/The-Grip-Book-Fourth-Edition/dp/0240812913/ref=sr_1_1?ie=UTF8&qid=1333841229&sr=8-1
http://www.amazon.com/Lighting-Technicians-Handbook-Fourth-Edition/dp/0240810759/ref=sr_1_4?ie=UTF8&qid=1333841229&sr=8-4
http://www.amazon.com/The-Camera-Assistant-Complete-Professional/dp/0240800427/ref=sr_1_4?ie=UTF8&qid=1333841294&sr=8-4
Without more information about your voice, it's really hard to say. A nasal singing voice can result from your voice resonating more in your sinuses than in your face (cheekbones) and chest; it can be related to muscle tension in the tongue, soft palate, jaw, etc. Be wary of people telling you what to do without actually hearing your sound.
Work with a singing teacher, or work on your own with a great voice book. This is my mentor's book - while it's billed as a book for the speaking voice, if you do every exercise you will notice a huge difference in your singing voice. Mrs Linklater knows her stuff; she is the head of Columbia's MFA acting program, and coaches major Hollywood and Broadway actors. Check it out & good luck!
One book that I learned a lot from was Kristen Linklater's "Freeing the Natural Voice". If you can pick up a copy from Amazon or something, it's so worth it. There's lots of useful techniques and exercises for getting down in your gut even if your natural inclination is to be restricted to your upper level. She talks a lot about the core and nature of animals to make noise from their gut.
Link to the book on Amazon.
Link to her Wikipedia page if you want to learn more about her
Give it a try :) If it doesn't work for you, there are plenty of voice coaches out there who would charge a reasonable fee to get you where you want to be.
You should read this book: http://www.amazon.com/Actions-Actors-Thesaurus-Marina-Caldarone/dp/0896762521
If you are choosing emotions to act, chances are you are playing out those emotions instead of acting. Instead, you should be choosing actions and what you want from the other person from the scene, and letting the emotions come from that... I'm not sure where or if you're taking acting classes, but that's pretty 101 stuff.
Show Networks and Control Systems: Formerly "Control Systems for Live Entertainment" Second Edition
Correct, I just can’t justify the $50 at this time
Directing Improv: Show the Way By Betting Out of the Way by Asaf Ronen
Read this book.
Read this book.
Read this book too.
These will give you a good basis to build knowledge/experience from.
This is not specific to injection moulding, but I picked up many good tips, and most of the general knowledge (for hobby), from this book by Thurston James.
Since your shop maintains dies, the best resource you'll have in terms of knowledge will be the tool and die makers which work there. Put any ego/superiority you have aside as it will get in the way of your learning (plus, theirs is bigger anyway). Ask questions. The toolmakers are a fountain of information and will gladly take you over every part of their craft if you let them. You will learn more from them than any book.
Congrats on the job!
Hollywood Babylon is the Kenneth Anger book about the scandals of classic Hollywood.
You can also watch The Big Knife about how these scandals were covered up.
Get these books by David Mamet:
Three Uses of The Knife, and True and False: heresay and common sense for the actor
this is what I started with.
this is what I use now.
Edit: thank you for the gold /u/dethswatch
The mixing part is the same. If you are solely the FOH mixer, and you don't want to be in charge of the bigger picture, you have no concerns - just make it sound good and know the consoles you are working on. The system tech is there to make sure that the rig sounds good everywhere in the room, and the PM and riggers are there to make sure it is run and hung safely and efficiently.
If you want to PM on bigger rigs like that, you need to start learning the details of all those people's jobs - not necessarily so you can tell them what to do, but so that you can spot safety issues and inefficiencies, and work hand-in-hand with them to meet your goals.
Here's a good book to start on power: https://www.amazon.com/Electricity-Entertainment-Electrician-Technician-Richard/dp/0415714834
And here is a good book on audio systems: https://www.amazon.com/gp/product/0415731011/ref=oh_aui_detailpage_o03_s00?ie=UTF8&psc=1
I haven't read this one on networks yet, but it's probably my next read...maybe others can chime in on wether it is a good one.
https://www.amazon.com/Show-Networks-Control-Systems-Entertainment/dp/0692958738/ref=asc_df_0692958738/?tag=hyprod-20&linkCode=df0&hvadid=312115090752&hvpos=1o1&hvnetw=g&hvrand=449842820588414772&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9061129&hvtargid=pla-415287733133&psc=1
​
And of course, nothing beats experience, so weasel your way into bigger jobs and watch what everyone is doing.
​
Some sources/ more reading:
The case is schlocked forever in Kenneth Anger’s Hollywood Babylon
General wiki article about Dekker.
Wiki link about his fiancé.
Schlocked forever over at find a death
A wiki link to Thomas Noguchi
A good youtube channel called Scary Mysteries featured the case.
Albert Dekker has his eye on you...
/r/sysadmin has many good resources in their sidebar. another good reference that is more applicable to AV is Show Networks and Control Systems. It provides most everything you would need to know about as well as it being a good reference in many other control technologies as well.
It's one thing to learn the "how", it's another thing to learn the "why". I highly recommend doing some reading/research on the concepts of lighting design: when, why and how to use lighting to help tell the story. Some starting suggestions:
https://www.amazon.com/Stage-Lighting-Design-Craft-Life/dp/1854599968/ref=sr_1_3?s=books&ie=UTF8&qid=1496027350&sr=1-3&keywords=stage+lighting
https://www.amazon.com/Practical-Guide-Stage-Lighting-Third/dp/0415812003/ref=sr_1_4?s=books&ie=UTF8&qid=1496027350&sr=1-4&keywords=stage+lighting
https://www.amazon.com/Light-Fantastic-Design-Stage-Lighting/dp/3791343718/ref=sr_1_5?s=books&ie=UTF8&qid=1496027350&sr=1-5&keywords=stage+lighting
There is a long history of not necessarily creative suits deciding they can improve a movie. They say they love the movie, like Terry Gilliam ‘s Brazil, which was improved by one suit by chopping off 20 minutes, and instead of the original dark ending creating a happy ending.
Or Harvey Weinstein who loved Shaolin Soccer so much he tried taking the axe to it to so as to improve that movie. Same with Snowpiercer.
Fortunately these films are available in their original, pre-suit improvement, versions.
Read this book. Treat it as your bible. Never give up.
But in terms of getting work from a production company like mine, there's a lot of casting websites we typically search through and pull from. Your acting talent typically won't matter much so long as you meet the description of the part they're looking for and have a big personality and a lot of energy. Keep in mind though that often these jobs pay very little or nothing at all.
I'm can't remember the names of the sites off the top of my head because I'm exhausted, but I'll post them in this comment tomorrow.
You can do whatever you want, and I've seen projects created both as an idea to be cast and as 'get good people and then figure out what works for them.'
I'd love to be a resource to you for this. Feel free to message me.
An excellent book:
https://www.amazon.com/Directing-Improv-Show-Way-Getting/dp/0977033902
I got to Columbia College Chicago and this is the book the teach us lighting from in the first courses.
https://www.amazon.com/Motion-Picture-Video-Lighting-Blain/dp/0240807634
I would definitely say learning how to light a scene comes from practice though, definitely do some reading so you can make educated decisions, but nothing beats practice.
Too bad. :(
Well I highly recommend this book then. It covers EVERYTHING.
> The Eight Characters of Comedy.
That's the name of the book. It's pretty much a must-read if you ever wanted to be in sitcom/comedy ensembles of any kind.
He wrote a book on this too. We used it as our class text book in my Acting and Directing class in college.
http://www.amazon.com/Michael-Caine-Applause-Revised-Expanded/dp/1557832773/ref=sr_1_1?s=books&ie=UTF8&qid=1381853716&sr=1-1&keywords=michael+caine+acting+in+film
Interesting and some good points, but not all are true in all situations, and it would have been a more useful piece if it also addressed what you SHOULD say in these scenarios. Neither directing nor acting is my primary area but I've done and studied both, so I have a few thoughts to add I hope will be helpful to others.
http://www.amazon.com/Michael-Caine-Applause-Revised-Expanded/dp/1557832773/ref=sr_1_1?ie=UTF8&s=books&qid=1278217957&sr=1-1
Long ass coment, hell yes. I hope others make long ass comments with their ideas and experiences too. This article makes a good springboard for a very meaningful exchange on directing actors.
And? Since then he's done virtually nothing of note. Everything he's done in the last decade or so going back to his painfully pretentious autobiography has been about him working on his personal branding as a "geek".
You might like The Battle of Brazil. I know I did.
Critter Costuming: Making Mascots and Fabricating Fursuits by Adam Riggs (Nicodemus)
I just bought a copy (shipping now) and it looks good. 4.5 out of 5 stars.
If it's protocol and how the actual signals work in the industry, I would recommend "Show Networks and Control Systems: Formerly 'Control Systems for Live Entertainment'" by John Huntington.
It'll cover how all of our main protocols work and how the might be connected. It also was just released as a new volume. So information is more up to date.
Show Networks and Control Systems: Formerly "Control Systems for Live Entertainment" https://www.amazon.com/dp/0692958738/ref=cm_sw_r_cp_apa_-fUFAbZY9S31S
I realise that this may be much further in depth than you would need. However the book is structured so that you can bounce around topics as you need. (also a photographer you might learn how to sync your camera up to things you could control in the studio for some extra fun projects )
I glanced at your post history and saw that this may be from more of a writing angle than one of acting, which makes a little more sense. You might want to take a look at Actions: The Actors' Thesaurus. It may not be the best fit for what you're looking for, but as an actor I'd rather read something in a stage direction like:
BILL (stabbing): OK, I'll leave then
rather than
BILL (loud and quick): OK, I'll leave then.
The second one feels like a line-reading which we as actors tend to look down on, and the first is something more actionable. Though really, if the writing is good enough the need for stuff like that is pretty minimal anyway.
I might be off on your intention, but hopefully that's helpful.
Michael Caine - Acting in Film
There's a book.
Books I recommend / see commonly recommended.
Show Networks and Control Systems
This is a great book all about how modern lighting networks work using sACN and other protocols. John Huntington is a great speaker if you ever get a chance to see him speak. He should be doing a session or two as USITT this year. He is also a professor at CUNY and has a great program there.
Electricity for the Entertainment Electrician & Technician
Another great book by another great speaker. I got to see a panel with Richard Cadena a few years ago at USITT. I was very impressed with how he spoke about stage lighting and some of the practical experiments that he has done and shared with us. I haven't read this book, but I've heard great things about it. A big topic of conversation at that panel was inrush current, and he gave some really great and easy to understand answers. I suspect that his book is more of the same.
Designing with Light
A classic. Very very well respected book. It will probably be the text book for your first lighting class in college, if you choose to study lighting in college.
[Light Fantastic: The Art and Design of Stage Lighting] (https://www.amazon.com/Light-Fantastic-Design-Stage-Lighting/dp/3791343718)
My favorite lighting book. Covers a huge array of topics, addresses lighting history & color, shows and demonstrates some really really interesting designs.
A Practical Guide to Stage Lighting
I see this book recommended most often. It's another great book. The title holds true, it is a very practical guide to stage lighting. How to do paperwork. How to write a contract. How to talk to people. Some nuggets of lighting knowledge. I didn't really get as much out of it though, as I am not trying to become a professional lighting designer.
Jenna's book: https://www.amazon.com/Actors-Life-Survival-Guide/dp/1944648224
Read Hollywood Babylon by Ken Anger. That industry has been sick for a very long time.
A few places to start:
http://www.amazon.com/Prop-Builders-Molding-Casting-Handbook/dp/1558701281
http://www.smooth-on.com/howto.php
It's wonderful to hear that you have an interest in his works! If you want a great place to start, I'd recommend going right to the source: An Actor Prepares. That is his famous work, it's the book that did it all. It's actually a surprisingly easy and very fun read, if at times somewhat confusing. You can see the basis for his ideas very clearly. I will say this though: it reads more like a work of philosophy than anything else. Notes on the translation: there are two major versions out: the one I linked you to, which is similar to how it was originally published, and a new one, more reflective of how Stanislavski wished the book published. The Benedetti translation is harder to read (as it includes sections that were taken out specifically for readability), but more academically interesting.
Other good reads are his autobiography, which is very open and contextualizes his later work beautifully, and Benedetti's work, focusing on the writing of An Actor's Work.
For a complete picture of 20th century acting theory, I would also look into Strasberg and Meisner.
The Battle For Brazil
https://www.amazon.com/Critter-Costuming-Mascots-Fabricating-Fursuits/dp/0615584233
This is a great book on making Fursuits, I used a lot of information from it when I made my Fursuit back in 2008
This book will get you started.
And this book will carry you even further.
This book was both excellent and also used in a casting and mold making materials science course I took at Uni.
If you have a junior college nearby that offers the course, you can 'audit' it which means you won't be held to the assignments, or graded.
Most of your time playing a character with lines on a show of film will be sitting down in your trailer, or in the green room, or in a holding area for the 'talent'.
For a really good step by step guide to being an actor, I once again CANNOT RECOMMEND ENOUGH Jenna Fischer's book 'The Actor's Life: A Survival Guide
It's LITERALLY the best book you can read on how to become an actor, from performing for your parents in the backyard to being on a film set
I thoroughly enjoyed Jenna Fischer's book The Actor's Life (https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.amazon.com/Actors-Life-Survival-Guide/dp/1944648224&ved=2ahUKEwiQnfrKr8LkAhUqmuAKHdwTCR0QFjALegQIAxAB&usg=AOvVaw0SG7eDGq925-1RP74aBdSB). She shares some great stories about The Office in it.
Show Networks and Control Systems: Formerly "Control Systems for Live Entertainment"
Show Networks and Control Systems
The Automated Lighting Programmer’s Handbook
These are two of the good ones for breaking down the basics and going through the whole process. Both are available on Amazon.
Two books that I found very helpful:
[The Anatomy of Story by John Truby](https://www.amazon.com/Anatomy-Story-
Becoming-Master-Storyteller/dp/0865479933/ref=sr_1_1?ie=UTF8&qid=1494365551&sr=8-1&keywords=john+truby)
(Also look him up on Youtube: Anatomy Of Story: The Complete Film Courage Interview with John Truby)
and
Three Uses of the Knife by David Mamet
https://www.amazon.com/Actors-Life-Survival-Guide/dp/1944648224/
John Huntington's Show Networks and Control Systems
Not scenery automation specific, but it's touched on. This book is about the languages and protocols that theatre control systems employ. IP networking, DMX, MIDI, RDM, PLC controllers for scenic automation, etc.
I like this book so much I bought it twice: one dead tree edition I can lend out to my students, and a digital copy so that I'll always have it available for reference.
The only diagrams for professional work I've ever seen were in a book called Motion Picture Lighting and Video Lighting. I've scanned one of the diagrams in the book as an example, though like you said, I don't think you'd have the resources to recreate it.
Born Fighting: How the Scots-Irish Shaped America
I've become a fan of Webb since I moved to Virginia, so I decided to read his book. Really enjoyed it too.
Also liked Just a Geek by wil, even though I'm not a Trek fan at all.
Harpo Speaks! by Harpo Marx. AMAZING.
Not all of these are in our core training/ required knowledge, or related to our day to day functions as a university A/V department, but They are all available to my team for knowledge building and professional development. Additionally , and our job ladder includes Infocomm certifications, so the library is a little biased towards infocomm resources at the moment.
Books I use are
http://www.amazon.com/Master-Handbook-Acoustics-Alton-Everest/dp/0071603328)
just ordered digital video and hd
based on a recommendation in r/videoengineering
infocomm's audio and visual systems design, essentials of the av industry, av best practices, AV installation hand book
white papers/ online training from extron, JBL, Dalite, surgeX, bluejeanscable, and others. (out of the office and do not have the exact list and links with me
http://www.amazon.com/Prop-Builders-Molding-Casting-Handbook/dp/1558701281
It sounds like you may have molding and casting experience... and maybe you even have this book, but if you don't, it's not expensive and I think you'd find it helpful... materials-wise it's a bit outdated BUT I still find that when I'm about to do a new project, even with newer plastics, referencing it still tweaks my brain in ways that help solve problems before I get to them... perhaps you would also find it inspirational.
You could try looking into different techniques, perhaps something like Meisner. He was all about acting as a result of the moment. Learning the lines in rote (no emotion added, just memorizing the words) and then using the moment to bring out the expression in the phrasing. Might be worth checking out.
Edit: he's got a great book out there http://www.amazon.com/Sanford-Meisner-Acting/dp/0394750594/ref=sr_1_1?ie=UTF8&qid=1426090821&sr=8-1&keywords=meisner
I read it and could feel a difference in my acting.
Absolutely. I think Danzig's infatuation with Monroe was a in partly informed by underground tabloid journalism like Kenneth Anger's Hollywood Babylon amongst others. In fact, it seems Danzig's world view is one of a network of conspiracies. In that, I think he saw Monroe as an innocent victim of both the mainstream media machine and the politically powerful. Aside from her beauty, I think he latched on to her as a type of martyr for his own world mythos.
Redrum! Redrum! I suggest [Wil Wheaton](
http://www.amazon.com/gp/aw/d/0596806310/ref=ox_sc_act_image_10?ie=UTF8&psc=1&smid=ATVPDKIKX0DER) or Chris Hardwick
Light Fantastic by Max Keller.
Light Fantastic: The Art and Design of Stage Lighting https://www.amazon.com/dp/3791343718/ref=cm_sw_r_cp_api_i_qPJ4Ab43PYNV6
Remember when they drive on a road at the end surrounded by billboards? That's the American ending. I have the special edition with both versions. Crappy cut. There was even a lawsuit that was big enough for its own book: http://www.amazon.com/The-Battle-Brazil-Universal-Screenplay/dp/1557833478
Unfortunately, neither of those two books fit your description, perfectly.
My range improved dramatically studying Linklater as an actor. Freeing The Natural Voice. It's not for everyone, but if you can grasp it and consistently practice, you can reach new depths vocally & frankly, emotionally. It's a technique many stage actors have studied.
Oh, then you would definitely use a plaster mold. UltraCal-30 is typically referred to as the finest plaster for molding, but you can get a away with anything. There aren't any hard rules.
This is a great book that covers almost every topic: https://www.amazon.com/Stop-Motion-Skills-Animation-Effects/dp/0240520556
I would also recommend using plasticine over sculpey if you're going to make a mold. The heat created as the plaster sets could harden the sculpey and make things a lot more difficult.
anything by Meisner
This is what you want: https://www.amazon.com/Actions-Actors-Thesaurus-Marina-Caldarone/dp/0896762521
You're welcome.
Critter Costuming: Making Mascots and Fabricating Fursuits
You'll make your lives a lot easier if you get a coach ASAP (even if it's just a temporary guest coach).
Player's attempting to direct each other (even for very experienced troupes) can lead to all sorts of drama down the line. I've been a part of teams where each week (or month) we rotated who was leading rehearsals. Some worked out great (the two where we all had at least a decade of performing/teaching experience and went into it with that plan) and others quickly became a dumpster fire.
My best advice while you're waiting for a coach is probably to pick up a book on improv theory or a book on on acting:
Mick Napier's - Improvise: Scene from the inside out, Bill Arnett's - The Complete Improviser, Viola Spolin's - Improvisation for the Theater, or something like Marina Caldarone's - Action: The Actor's Thesaurus are good places to start.
Then read it together outside of rehearsal and discuss the ideas in various chapters when you meet up - maybe try out a few exercises, but be wary of trying to direct each other: that's not your job, your job is to support each other on stage.
Heck, just reading a few acting books and really discussing them will put you guys leaps and bounds ahead of most improvisers.
There's a book written about 20yrs ago called the eight characters of comedy that breaks this formula right down.
http://www.amazon.ca/Motion-Picture-Video-Lighting-Blain/dp/0240807634
https://www.youtube.com/watch?v=rs8_KD_lvBg
In this field, you have to learn by doing. Get a small lighting kit with at least three lights. Get some gels and some diffusion. Set up your camera and play around.
Few books that helped me get started:
https://www.amazon.com/Stage-Managers-Toolkit-Communication-Performance/dp/1138183776/ref=sr_1_7?ie=UTF8&qid=1542608132&sr=8-7&keywords=stage+manager
​
https://www.amazon.com/Back-Stage-Guide-Management-3rd/dp/0823098028/ref=pd_bxgy_14_img_2?_encoding=UTF8&pd_rd_i=0823098028&pd_rd_r=8bc387b0-ebc2-11e8-ae28-63a19228e702&pd_rd_w=z03gC&pd_rd_wg=p4c6y&pf_rd_i=desktop-dp-sims&pf_rd_m=ATVPDKIKX0DER&pf_rd_p=6725dbd6-9917-451d-beba-16af7874e407&pf_rd_r=BFK34PJ5BZQ4P1BDVYTQ&pf_rd_s=desktop-dp-sims&pf_rd_t=40701&psc=1&refRID=BFK34PJ5BZQ4P1BDVYTQ
​
https://www.amazon.com/Stage-Manager-Experience_Refreshed-Larry-Fazio/dp/1138195073/ref=sr_1_1?s=books&ie=UTF8&qid=1542608202&sr=1-1&keywords=The+professional+stage+manager
​
Two useful books I always use are Actions: The Actor's Thesaurus and A Pronouncing Dictionary of American English
Useful for a lot of people and not technique specific. Basically great reference books.
Quick Link if you haven't seen it yet.
These books have helped me a lot over the years.
Keith Johnstone - Impro
Sanford Meisner - On Acting
Laurence Olivier - On Acting
David Mamet - True and False
Harpo Speaks! by Harpo Marx and Rowland Barber
Best autobiography/biography I've ever read: great life story, lots of funny stories, touching stuff too. I've been planning to read it again.
(BTW, my first Reddit comment!)
This is the price of three starbucks coffees.
I remember it having some really good notes on the logic inherent in a dumb person's reactions to situations.
> Harpo Marx was awesome
FTFY.
Read this if you haven't already.
Basically, you just need a standard camera. Stop motion, like other forms of animation, is essentially a series of stills, so you set up the scene, take a shot, move everything just -barely-, then continue on down the line.
If you're actually interested in doing this, I might suggest a few things. First, pick up a copy of The Animator's Survival Kit by Richard Williams. It's an essential book on timing and basic animation principles that will help you immensely. You may also want to consider Stop Motion: Craft Skills for Model Animation to see how things progress and make sure you have a proper, showable film at the end.
Do know that it's a long, tedious process. But if you have a story you want to tell, it'll be pretty awesome. I just graduated with a degree in animation, and I happen to think it a wonderful artistic form that should be encouraged.
Read Hollywood Babylon. It is all about this early star system, how Hollywood started, and how celebrity gossip became a national pass-time.
His book "Acting in Film is brilliant. I am not an actor and do not intend to pursuit acting in any way but a former roommate left it when he moved away and I think I read it in one sitting - it was very interesting. The principles he outlines in that book translate to many life situations. Learned a thing or two about film as well...
I believe that reading and practicing Freeing the Natural Voice by Kristin Linklater is one of the best things an actor can do for him/herself. I studied the Linklater Method in my university studies, and it not only ameliorated my performance technique, but it changed me as a person. This is stuff that one can practice in numerous scenarios, not just in preparation for performance. It is absolutely worth a look, and isn't expensive on Amazon.
http://www.amazon.com/Freeing-Natural-Voice-Practice-Language/dp/0896762505
Sorry for the link, I am using a French keyboard and can't figure out how to make brackets.
Definitely read "The 5 C's of Cinematography" before anything else. http://www.amazon.com/Five-Cs-Cinematography-Picture-Techniques/dp/187950541X/ref=sr_1_1?s=books&ie=UTF8&qid=1367884793&sr=1-1&keywords=5+c%27s+of+cinematography
I love "New Cinematographers" which has been a very inspiring book for me as it reminded me why I love working in the film industry at a time when I was contemplating quitting altogether. http://www.amazon.com/New-Cinematographers-Alex-Ballinger/dp/1856693341
The Eye is Quicker. http://www.amazon.com/Eye-Quicker-Editing-Making-Better/dp/0941188841/ref=sr_1_1?s=books&ie=UTF8&qid=1367884818&sr=1-1&keywords=the+eye+is+quicker
Motion Picture and Video Lighting. http://www.amazon.com/Motion-Picture-Video-Lighting-Blain/dp/0240807634/ref=sr_1_4?s=books&ie=UTF8&qid=1367884852&sr=1-4&keywords=grip+and+lighting
The Camera Assistant's Manual by David Elkins. http://www.amazon.com/Camera-Assistants-Manual-David-Elkins/dp/0240818687/ref=sr_1_1?s=books&ie=UTF8&qid=1367884939&sr=1-1&keywords=camera+assistant
I learned a lot by reading Michael Caine's book on acting. I never would have thought to learn about directing from that book, but I asked an acting teacher the same question you've posted here and that was her immediate answer.
To be clear, it's not like he discusses how to direct actors in the book. He just explained what actors go through and what actors tend to need during prep and on set in a way that was helpful to me.
Michael Caine - Acting in Film: An Actor's Take on Movie Making (The Applause Acting Series) Revised Expanded Edition https://www.amazon.com/dp/1557832773/ref=cm_sw_r_awd_Szf.ub0DNA53A
Edit: sorry for whatever that price zombie bot post is. I'm new here and didn't know that crap would happen if I posted a link.
http://www.amazon.com/Motion-Picture-Video-Lighting-Blain/dp/0240807634
This my favorite book on lighting.
Vocal training really does wonders. I was a theater major for a while, and took a voice and diction class. Really enunciating your words and speaking with confidence makes a big difference. I also learned that my voice was very nasally, and the exercises really helped me speak from my throat and not my nose. I've found it to be really helpful in my life. When I worked as a receptionist, I was constantly complimented on my voice, especially over the phone. I also feel it helps me stand out because I'm not slurring my words together. It also helps you sound more pleasant, which is nice. This is the book we read. We also learned timing, so that you have enough breath to say what you need to say without taking unnecessary breath-breaks. You might feel silly doing the exercises, but they really do work! It's also a great resource if you speak in front of groups.