Publisher: SilverTonalities
Traditional Children's Song for Beginner Piano Tadpole Edition Easy Note Style Sheet Music Letter Names of Notes embedded in each Notehead!
Are you ready to dive into the world of screenwriting, but don’t know where to start? Do you feel unclear about how to distinguish and use the elements of the screenwriting process? Are you still on the search to write screenplays that will set you apart from other screenwriters and stick with the world for years to come? How to Write a Screenplay is the guide you need! We will teach you how to write a screenplay in 7 easy steps. This guide is designed to provide you with all the tools you need in a concise, easy to understand format that will answer all your burning questions and get you on your way to successful screenplay writing. To be a successful screenwriter, you must draw your audience in immediately and keep them engaged throughout the entirety of the production. As the story reaches its end and the conflict has been resolved, you must provide a sense of satisfaction for your audience, as well as a message they can hold onto going forward. YOU’LL LEARN:How to develop a loglineLogistics of character developmentHow to write dialogueHow to establish an engaging plotTips to write the unexpectedCommon screenwriting mistakes to avoidHow to effectively revise your scriptHow to produce a first draftHow to catch and maintain the attention of producers, managers, and executivesAnd so much more! Whether you're just starting on the journey of screenwriting and need to develop a clearer understanding of the elements, or have been at it for a while and are looking for fresh perspectives and tips for further develop how you perfect your craft, this guide is the companion you need. Let’s get started!Show book
Brian Bedford’s hugely successful one-man show is both an actor’s celebration of Shakespeare and an act of Shakespearean scholarship. Bedford explores the emotion and psychology behind Shakespeare the man, as well as Shakespeare the playwright. In amusing, enlightening, and persuasive style—and with the use of quotes from several of Shakespeare’s sonnets, narrative poems, and plays—Bedford uncovers the tragic, the comic, and the passionate guise of perhaps our greatest and most revered playwright. In this recording, Bedford includes selections from The Tempest, As You Like It, Love’s Labour’s Lost, A Midsummer Night's Dream, Hamlet, Henry VI, Twelfth Night, Romeo and Juliet, Measure for Measure, The Tempest, King Lear, The Winter’s Tale, Macbeth, Titus Andronicus, and Richard II.A CBC Broadcast Centre solo performance featuring Brian Bedford.Recorded in front of a live audience at the Glenn Gould Studio, Toronto in March of 1995.Show book
An analysis of the depiction of Australia’s landscape in its films and literature. Imagined Landscapes teams geocritical analysis with digital visualization techniques to map and interrogate films, novels, and plays in which space and place figure prominently. Drawing upon A Cultural Atlas of Australia, a database-driven interactive digital map that can be used to identify patterns of representation in Australia’s cultural landscape, the book presents an integrated perspective on the translation of space across narrative forms and pioneers new ways of seeing and understanding landscape. It offers fresh insights on cultural topography and spatial history by examining the technical and conceptual challenges of georeferencing fictional and fictionalized places in narratives. Among the items discussed are Wake in Fright, a novel by Kenneth Cook, adapted iconically to the screen and recently onto the stage; the Australian North as a mythic space; spatial and temporal narrative shifts in retellings of the story of Alexander Pearce, a convict who gained notoriety for resorting to cannibalism after escaping from a remote Tasmanian penal colony; travel narratives and road movies set in Western Australia; and the challenges and spatial politics of mapping spaces for which there are no coordinates. “It will likely be the indispensable touchstone for any future work in these areas with respect to Australian cultural studies.” —Robert T. Tally, Texas State University “Definitely original in its approach, since it combines a conceptual approach with a more applied one. The book is a serious contribution to the field of mapping spatial narratives and to a better understanding of the production and spatial structure of fictional places.” —Sébastien Caquard, Concordia UniversityShow book
“An excellent study that should interest film buffs, academics, and non-academics alike” (Journal of the West). Hollywood’s West examines popular perceptions of the frontier as a defining feature of American identity and history. Seventeen essays by prominent film scholars illuminate the allure of life on the edge of civilization and analyze how this region has been represented on big and small screens. Differing characterizations of the frontier in modern popular culture reveal numerous truths about American consciousness and provide insights into many classic Western films and television programs, from RKO’s 1931 classic Cimarron to Turner Network Television’s recent made-for-TV movies. Covering topics such as the portrayal of race, women, myth, and nostalgia, Hollywood’s West makes a significant contribution to the understanding of how Westerns have shaped our nation’s opinions and beliefs—often using the frontier as metaphor for contemporary issues.Show book
Egyptian art is perhaps the most impersonal that exists. The artist effaces himself. But he has such an innate sense of life, a sense so directly moved and so limpid that everything of life which he describes seems defi ned by that sense, to issue from the natural gesture, from the exact attitude, in which one no longer sees stiffness. His impersonality resembles that of the trees bowing in the wind with a single movement and without resistance, or that of the water which wrinkles into equal circles all moving in the same direction. From afar, Egyptian art seems changeless and forever like itself. From nearby, it offers, like that of all the other peoples, the spectacle of great evolutions, of progress toward freedom of expression, of researches in imposed hieratism. Egypt is so far from us that it all seems on the same plane. One forgets that there are fi fteen or twenty centuries, the age of Christianity — between the “Seated Scribe” and the great classic period, twentyfive or thirty centuries, fi fty, perhaps — twice the time that separates us from Pericles and Phidias — between the pyramids and the Saite school, the last living manifestation of the Egyptian ideal. Egypt died of her need of eternity.Show book
'She has, to my knowledge, an almost unblemished record in never having failed to spot a great new play…' Philip Howard, from his Foreword Joyce McMillan has been writing about theatre in Scotland for more than three decades. As drama critic successively for The Guardian, Scotland on Sunday and The Scotsman, she has reviewed thousands of plays. During that time she has borne witness to an extraordinary cultural and political renaissance in Scotland, reflected in the newfound confidence of its playwrights, in the vibrancy of its theatre culture and in its recent outburst of new theatre companies. Compiled by McMillan and the theatre director, Philip Howard, Theatre in Scotland is a panoramic history of modern Scottish theatre, reported from the frontline. It traces the remarkable journey of Scottish theatre towards its new self-confidence: the road to 1990, when Glasgow was European Capital of Culture; followed by the explosive expansion of the 1990s; culminating in the emergence of the National Theatre of Scotland and its drive to bring theatre culture right into the heart of the nation. Gathered here are the leading Scottish playwrights, from John Byrne to Liz Lochhead, from David Greig to David Harrower, as well as the full breadth of English playwrights, from Shakespeare to Pinter. There are reflections on the great Scottish plays, classic – Ane Satyre of the Thrie Estaitis, Men Should Weep – and modern – Black Watch, The James Plays. There are reports not only from the urban theatre centres of Edinburgh and Glasgow but from all over Scotland; and from the feast that is the Edinburgh Festival, to the nourishing A Play, A Pie and A Pint. A leading thinker and writer about Scotland, McMillan has an incomparable ability to detect the wider cultural resonances in Scottish theatre, and to reveal what it can tell us about Scotland as a whole. Her book serves as a portrait of a nation and a shared cultural life, where visions of 'what we have been, what we are, and what we might become' are played out in sharp focus on its stages. 'When Scottish theatre works [its] magic over the coming years, I will be there, to try to catch the moment in print, and to tell it as it was. And believe me, on the good nights and the bad ones, the privilege will be mine: to be paid to go looking for joy, and occasionally to find it.' Joyce McMillanShow book
