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Renaissance Fun explores the technology of Renaissance entertainments in stage machinery and theatrical special effects; in gardens and fountains; and in the automata and self-playing musical instruments that were installed in garden grottoes.

Stage machinery.

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"Now in its fourth edition, Illustrated Theatre Production Guide delivers a step-by-step approach to the most prevalent and established theatre production practices, focusing on essential issues related to the construction of wooden, fabric, plastic, and metal scenery used on the stage. Offering techniques and best-practice methods from experienced industry experts, this book allows readers to create a foundation on which to build a successful and resourceful career behind the scenes in theatre production. The new edition has been fully updated to include the latest technology and current practices, with four new chapters on Safety, Automation, Digital Fabrication, and the Production Process, and an emphasis on inclusivity and gender-neutral language. A must-have resource for both the community theatre worker who must be a jack of all trades and the student who needs to learn the fundamentals on his or her own, Illustrated Theatre Production Guide covers all the necessities of theatre production through detailed lessons and hundreds of drawings. The book also includes access to a companion website featuring instruction videos, tips for an eco-friendly production, and additional images and resources"--

Stage management. --- Theaters --- Stage-setting and scenery.

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Stage machinery. --- Stage equipment --- Theatrical machinery --- Theaters --- Stage-setting and scenery

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"When London theatres re-opened in 1660 upon the restoration of the monarchy, they naturally wanted to perform Shakespeare's plays. Particularly under the leadership of Sir William Davenant, founder of the Duke's Company, Restoration theatres did so in a radically new way. At last, women played women's roles. Theatres moved totally indoors. Massive stage spectacles were preferred over bare platform stages. Music and dance were fully integrated into the productions. And Shakespeare's plays were strongly rewritten: King Lear survived, the witches in Macbeth sang and danced, and Miranda in The Tempest gained a sister. Shakespeare in the Theatre: William Davenant and the Duke's Company reveals how - and why - the first generation to stage Shakespeare after Shakespeare's lifetime changed absolutely everything. The Duke's Company was one of the two London theatre companies established by royal patent in the Restoration. As leader of the Duke's Company, Davenant's influence on its approach to Shakespeare was profound and lasting. He controlled every aspect of theatrical production: deciding the repertoire, writing his own Shakespeare adaptations, casting actors in roles, running rehearsals, training actors, and equipping his theatre with machines and scenery to produce lavish stage spectacle. This book provides the first performance-based account of Restoration Shakespeare, exploring the precursors to Davenant's approach to Restoration Shakespeare, the cultural context of Restoration theatre, the theatre spaces in which the Duke's Company performed, Davenant's adaptations of Shakespeare's plays, acting styles, and the lasting legacy of Davenant's approach to staging Shakespeare."--

Shakespeare, William, --- D'Avenant, William, --- Dramatic production. --- Stage history.

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What is the purpose of a stage direction? These italicized lines written in between the lines of spoken dialogue tell us a great deal of information about a play's genre, mood, tone, visual setting, cast of characters, and more. Yet generations of actors have been taught to cross these words out as records of previous performances or signs of overly controlling playwrights, while scholars have either treated them as problems to be solved or as silent lines of dialogue. Stage directions can be all of these things, and yet there are examples from over one-hundred years of American playwriting that show that stage directions can also be so much more. The Lines Between the Lines focuses on how playwrights have written stage directions that engage readers, production team members, and scholars in a process of embodied creation in order to determine meaning. Author Bess Rowen calls the products of this method "affective stage directions" because they reach out from the page and affect the bodies of those who encounter them. Affective stage directions do not tell a reader or production team what a given moment looks like, but rather how a moment feels. In this way, these stage directions provide playgrounds for individual readers or production teams to make sense of a given moment in a play based on their own individual cultural experience, geographic location, and identity-markers. Affective stage directions enable us to check our assumptions about what kinds of bodies are represented on stage, allowing for a greater multitude of voices and kinds of embodied identity to make their own interpretations of a play while still following the text exactly. The tools provided in this book are as useful for the theater scholar as they are for the theater audience member, casting director, and actor. Each chapter covers a different function of stage directions (spoken, affective, choreographic, multivalent, impossible) and looks at it through a different practical lens (focusing on actors, directors, designers, dramaturgs, and readers). Every embodied person will have a slightly different understanding of affective stage directions, and it is precisely this diversity that makes these stage directions crucial to understanding theater in our time.

Stage directions --- History. --- Drama --- Technique --- Stage directions. --- Theater --- Production and direction. --- Stories, plots, etc. --- Directing (Theater) --- Play direction (Theater) --- Play production (Theater) --- Direction