3 comments about Theatre: Brief Version (Theatre (Brief Edition)).

1. I received my product in good time.
   I was able to study for my quiz with an older edition and still do well.
   I highly recommend this user.



2. Whether you are a seasoned professional or a first-time beginner, Bob Cohen's book will give you a breath of air as you slog through the sometimes smoggy atmosphere of teaching drama. One of the problems a drama teacher faces is that while everybody can act to a certain point--after all, most of us live a life of drama just navagating the simplest everyday experiences. But not all are able to capture that natural ability to adjust to life for use in an artificial environment--ie on the stage or before the camera. Cohen breaks that process down to basics. There are no esoterics here, only common sense . . . and truth. Among the exercises there is advice. Good advice. This is a great place to start before you tackle the various "Methods" that some swear by but often get between the actor and acting. I have been at this for nearly 30 years and still go back to Cohen for that breath of air I mentioned. It makes me want to go back into the darkness of the rehearsal hall to see whether I can make the magic yet again.



3. This book, by Cohen, offers a good reference guide for begining students. It is comprehensive and well-laid out as it gives a basic overview of most aspects of the theatrical arts.

1 comments about Advocacy and Opposition: An Introduction to Argumentation (6th Edition).

1. This is a great intro to argumentation, and is useful to people of all ages and degrees of experience.

5 comments about No Acting Please.

1. This is like the handbook version of the Being and Doing book by the same author. Something like a fist-aid kit in case of an "emergency" on stage or during a take. Break glass before storming off the set in disgust.



2. This is one the of the best approached to acting. It makes everything clear.
   Also an easy read.



3. I am personally an Eric Morris actor. I live in Los Angeles and I attend his workshop weekly. Having actually experienced his Craft personally and by watching hundreds of others come and go, and succeed and fail: it has become strikingly obvious to me that his Work works. One of the elements of this uniquely personal Craft is that it can be very overwhelming and emotionally draining. Through my two plus years of experience in the Work, I have found that very few Eric Morris actors actually uses the Craft exactly as it is intended. I believe as do many of my contemporaries that the Craft provides the actor with a limitless supply of "acting" tools, which encourage the actor to experience truthfully. It is painfully obvious that "truth" or an organic expression of impulses and emotions is severely lacking in theatre, television and on screen. There is not one person who has come to class and gone on stage who has not gone through a substantial growth. Being a student of acting my entire life, on a constant pursuit of truth in my work, and having over 25 teachers since first grade: I have found the one teacher on the planet who can answer all of the difficult questions actors ask about the mysterious art of acting. If you have a thirst for truth in your acting and in how you live your life, you foolish to remain ignorant of Eric Morris.



4. I'll admit that at first glance Eric Morris's System can seem scary and misaligned. But I believe it to be a very misunderstood system.
   
   I too was skeptical in the beginning, but after studying this technique (with Eric, but mostly with Anthony Vincent Bova in NYC, Eric's protégé), and after seeing the difference from "acting" and what this Work creates, there's no way I'd ever go back to the "acting" form.
   
   Eric Morris teaches the actor how to react honestly and in the moment, including everything that's going on inside and out-the other actor, the props, the imagined objects that one might be working for-that impels you to "do" whatever the character is required to "do", but out of a real reaction, not just because you're doing it.
   
   I've studied Adler, Strasberg, Meisner, and with Robert Lewis. I've hashed through the process of verbs, actions, objectives, obstacles, and onward; and they're all good and dandy for figuring out what's going on in a script, what the characters are doing and why; but other than that, these techniques never helped me figure out HOW to make it real to ME... How to get to a place where I'm actually functioning from a real, organic, truthful state ... How to get to the point where I am "doing" all the script tells me to do, fulfilling the "actions," out of an honest REACTION to what's going on.... Not just "playing" as if I am; how, in essence, creating the realities of the character....
   
   No matter where you go, all the great teachers (and actors) say the same thing, "Acting is reacting." Even the most used and cherished word in the actor's language, LISTENING, is about focusing outside of yourself and REACTING to what is there. This Work trains the actor to create the stimuli that will fulfill the demands of the piece, specifically, wholly, and with Truth.
   
   For the most part, plays and movies are imagined circumstances, and we as actors, have to create stimuli to react from, so we're not just faking, or indicating our performance. I'd rather watch two people have a relationship on film or on stage, than two actors reciting words, no matter how well they "act" it. If they don't believe it, I won't. This System trains you to create those stimuli and REACT to them honestly, fully and truthfully.
   
   A crucial part of Eric's System is based on Instrumental Work, which is the process of identifying blocks and fears and tensions to expression and, one-by-one, through the use of hundreds of exercises, eliminating them. It's really about self-awareness-learning about yourself and how you function, so you can "get out of your way" and function truthfully on stage or film and get to where you need to get to in a scene. I think this is the aim of every method, but I feel that this System is the only one to address the issues of the actor on a personal level. If I'm tense and depressed (in real life; me the actor), I'm not going to be able to REACT truthfully in a scene where the character has just won the lottery and is jumping with joy. If I push for the emotion, I'll be faking and will "act" that I'm joyful. If this is enough for you, then Eric's work is definitely not your thing. But if you're looking for creating reality and REACTING with truth, nothing surpasses this Work.
   
   I know that Meryl Streep, Brando, Ed Norton, Johnny Depp, Jack Nicholson, Al Pacino, Robert DeNiro, and a handful of other amazing actors don't fake it, don't just indicate the realities of the character and the circumstances. They create them. Be it imagined stimuli they are creating, or through the available stimulus around them, they open themselves up and REACT truthfully to everything -the other actors, the set, the space, the props, the object or person via Sense Memory, etc. I KNOW they do this for a fact! They've talked about it for years.
   
   Eric helps you get to the place that they do-where you can function truthfully, where your instrument is accessible and available, where you are open and are willing to go where the character needs to go, emotionally, psychologically, and physically.
   
   My advice is read Eric's books. If they pique any interest in you, if they strike a cord, study with Eric or Anthony, or at least contact them for further information about the system. I think you'll be quite surprised and utterly amazed at the tools this Work can provide you as an actor.



5. I give this book a fairly high rating because all acting technique is personal. An actor's job in receiving training is to simply find the approach that works best for the individual. Method acting simply means to find one's own method. While responses to acting texts, approaches and classes are always subjective, one should always remain open for new ideas.

   That said I reject Eric Morris' approach to acting on a personal and professional level.

   As every actor knows (or at least should know), his/her job is "to do nothing more than to be believable while telling the best possible story that serves the script" (Bruce Morris). Or as Stanislavski defines acting: "Acting is living truthfully under imaginary circumstances". The root of an actor's technique must always be action. Again with Stanislavski: "while on stage, an actor must always be enacting something". Action verbs are the basis of all acting/storytelling craft. An audience does not pay precious money to watch an actor have an emotional moment, but rather to have the moment themselves.

   All the great acting teachers, building upon the work of Stanislavski, have stressed the importance of finding and playing an action as opposed to an emotion. Robert Lewis, Sanford Meisner, Stella Adler, Uta Hagen, Michael Checkov and even Lee Strassberg (although he ventured too far into the emotional realm) all taught students to find the appropriate action and embrace that reality as the basis for their storytelling craft. Emotions are the by product of a person engaging in an action and either failing or succeeding in the quest to fulfill that action.

   Eric Morris' approach, centers on "Being" exercises. He asks his students to simply get up in front of a group of people and simply "Be". As related in this book, he proceeds to grill them about their day and call them on the carpet for any false emotion as he dredges for some emotional moment. Morris' approach, at least to this reader, comes off as simply another example of acting teacher "power tripping" as well as pseudo-therapy hidden in the guise of acting. This approach simply leads to the teacher holding such power over his/her students as they become obsessed with pleasing the teacher as opposed to truly pleasing the audience.

   This approach leads to emotionally crippling an actor. Actor's become obsessed with evaluating their acting on the basis of whether or not they "felt" the scene. If an actor finds they cannot reach the emotion, they immediately fill themselves with a great sense of guilt and personal disgust at their inability to produce an emotion. Acting should ultimately be a freeing experience as well as a fun and celebratory bit of life. Many acting teachers and actors, bowing under the weight of thousands of years of social stigma feel that they must deny the "fun" factor of acting and make it a painful and serious affair.

   As any director or acting teacher can attest, when one simply asks an actor to "be" on stage, one will watch an actor squirm, blink and fold inside him/her self. Put an actor on stage and ask him/her to push a giant stone up a mountain, one will watch a fantastic story filled with all the emotional truth an audience could ever hope to find.

   The key to acting is not "being" it is in fact "doing". Apparently Morris has a workbook that combines the two concepts. I will certainly read that as well- again the justification for the high rating. I am still learning my craft and I pray I will always continue to do so.

   NO ACTING PLEASE is certainly worth reading and worth trying though so that one can form their own opinion. After trying Morris' approach, this review is simply my opinion. Proceed with caution.

5 comments about Jazz Age Beauties: The Lost Collection of Ziegfeld Photographer Alfred Cheney Johnston.

1. I have seen pictures of full nude women for sale from this period on ebay but after getting this book the full nude women are very few & far between so do not buy if you are looking for vintage nude women photos from that era.



2. I also bought this book for the photos and to learn about the Ziegfeld girls. I was really impressed about the variety of subjects that Mr. Johnston photographed.
   The text was illuminating and really "fleshed out" the subjects of Mr. ACJ's photos. It left me wanting more and now I want to learn more about this underappreciated man and his work.
   Buy this book if you are into the history of Ziegfeld girls, 1920's fashion photography, or interested in an amazing photographer.
   I, too, wish the book was a bit larger so the pictures could be really appreciated.
   A must have!



3. This book is gorgeous. The photos are reproduced quite well, and the book looks and feels like quality. Included is a nice history of Ziegfeld Follies, along with brief biographies of many of the women.
   
   Julie Newmar provides a fascinating Foreword (her mother was in the Ziegfeld Follies and posed for photographer Alfred Cheney Johnston--as did a teenage Newmar). We also learn much about photographer Johnston.
   
   The highlight of the book for me, though, is the photographs (some are nudes) of actresses, including Renee Adoree, Adrienne Ames, Tallulah Bankhead, Theda Bara, Lina Basquette, Clara Bow, Louise Brooks, Billie Burke, Norma Shearer, Claudette Colbert, Betty Compton, Dolores Costello, Marion Davies, Claudia Dell, Billie Dove, Jeanne Eagels, Mary Eaton, and more.
   
   Like George Hurrell, Johnston was a true artist. His work makes these beautiful women immortal.



4. This is a spectacular book in every respect but one - it's size. The photos are fantastic, the layout is fantastic, the quality of its production is top drawer, everything about it is classy and well refined, but it's a downright unusual size for a book of this type, and that's why I only give it four stars.
   
   This needed to be in a large format to fully appreciate the photos and the beautiful layout work, but instead, it's sized about the same as most hardback novels, and when you place four photos on a page of that size, the images tend to be very small and you lose the overall impact of those photos.
   
   I highly recommend this one, get the hardback while you can before being forced into a reprint paperback, but I would've prefered the book be a sized more in keeping with most art and photography books.



5. the book is beautifully designed and printed. the ziegfeld girls, many of whom are familiar, are all gorgeous.. it's a window into the roaring twenties and the spectacular beauties of the jazz age.

5 comments about The Theater and Its Double.

1. I have read this at least once a year for the past four years and it changes my life every time. As I get older and more mature, so does my theatre theory. This is a theatre theory book that all collaborators should read.. from actors to designers, to dramaturgs and directors to Stage mangers and so on.



2. This is definitely required reading for theatre students. It will help you better understand the shift in modern and experimental theatre that has transpired over the course of the last century. It will also help you better understand the basis for a lot of horrible theatre concepts staged by overzealous students and professors, the world over.... Be wary of people throwing around the Theatre of Cruetly catchphrase as if they know what it means....



3. Antonin Artaud's forward thinking and innovatiove views on the theatre are an essential read for any practisioner of the theatrical arts. Wade through the madness and see the light.



4. Antonin Artaud's obsession -- and I don't think that's too strong a word in this context -- lay in building a new philosophical framework for live theater, one that would give audiences unmediated access to powerful metaphysical truths. This book is keystone text that illuminates the rest of his life's work. Ultimately, it's not a satisfying one because of its repetitive and mystical nature and because, placed in historical context, Artaud's conception of what should constitute living theater seems somewhat constricted to later, media-saturated generations.

   Let there be no mistake, however. The theatre francais of Artaud's day was hidebound by convention, a convention that surrealism took as somewhat of a challenge to overturn. Artaud's plea for a theater that would de-emphasize the spoken text and accord more emphasis on light, sound, movement and elaborate combinations of anything non-verbal that could be brought to bear on audiences is part and parcel of the surrealist rejection of theatrical convention. It is striking that Artaud, himself a marvelous film actor, dismissed out of hand the notion that motion pictures as an art form could do what live theater could not. In this respect lies the most obvious example of his limited vision. Film would eventually provide the director with all the tools that Artaud dreamed of for his Theatre of Cruelty. Bergman, Fellini, Kurosawa and Tarkovsky would all draw heavily on the notion of subordinating conventional dialogue to image and sound. Artaud's notion of theater is further undercut by the rise of television, its ubiquity and, in the age of digital electronics and computers, its raw immediacy. Television gives us unmediated images of real violence and conflict, of death on a horrendous scale, but many of us would rightly question whether being directly confronted by the unreasoning cruelty of the world we live in is especially ennobling or enlightening. In fact, many of us might argue the opposite, that it coarsens us, that it hardens the soul against outrage.

   So, why give Artaud three stars for this book? Because there are some very crucial things that he gets right in this collection of essays. Most importantly, Artaud draws repeated attention to the flaws of complacency in theatrical production. It took an Artaud to remind Western civilization that theater's roots lay in public spectacle and religious rite and that its estrangement from those roots was killing theater as a living form of art. It took an Artaud to take theater off the stage and put it into the public space surrounding the audience, breaking the plane of conformity that separated actors from audience. Artaud, perhaps most ironically, reminds us that we call theatrical performers "actors" for a very good, but forgotten, reason -- their art at its peak acts upon the audience with a transformative power.

   This very dense and, at times, mystifying collection is worth the effort required to read through it and come to grips with intellectually. I would especially encourage anyone interested in film as an art form to read Artaud and ponder how his insistence that a wide range of sense data can reconnect an audience with vital truths could be adapted to the cinema. For here, in a new art form that is still willing to tap into daring innovation, is where Antonin Artaud's passion is most likely to find a permanent home.




5. I'll admit that this is the first time I've read Artaud. And I'll admit that when I began reading the first section, The Theater and the Plague, I thought on numerous occasions, "Where is this guy going with this?" Upon concluding this section, and after picking myself up off the floor, I returned to the beginning for a another read through, and again, afterward, found myself floored. Artaud presents a take on theatre like none other. A take that many may disagree with, but few can deny the illuminating profundity of his analogies, correlations, and general theatrical philosophizing. But don't think Artaud is without a sense of humor. With a blurt like, "I saw some sort of human snakes, otherwise known as playwrights, explain how to worm a play into the good graces of a director...", whose not going to let out a chuckle? (Especially if you're guilty). In addition, this book boasts some of the best writing that I've ever read. His writing is crisp, unmasked, and intellectually and visually stimulating. And as an added bonus, nine "I'm an ugly man smoking a cigarette" black and white photos precede the text. At $10, "The Theater And Its Double" won't disappoint.

2 comments about An Actor's Work: A Student's Diary.

1. Stanislavski is a familiar name in theatre circles. The legendary director of the Moscow Art Theatre wrote perhaps some of the most influential work on acting in the last century. I could list the big names who cite his influence (most famously, Marlon Brando and Sir John Gielgud), but the fact is his teachings have become so much a part of the way we approach theatre, that almost any actor in the English-speaking world (and abroad) can claim at least some influence.
   
   Unfortunately, most English-speakers are familiar with Stanislavski's `system' in the considerably troubled translation by Elizabeth Hapgood. What's more, the form that translation took (as two separate books, the famous "An Actor Prepares" and "Building a Character") misrepresented Stanislavski's original intentions. In actuality, "An Actor Prepares" and "Building a Character" are two parts of a larger book, called "An Actor's Work on Himself." In the Soviet Union, they were published as volumes one and two of the same book.
   
   Hapgood worked with Stanislavski on an early edition of the first half of the book, which in her translation would become "An Actor Prepares." However, Stanislavski continued revisions on the book after Hapgood had returned home to America in 1935. The translation that was published, in addition to being abridged to half the original's length, was also missing the subsequent revisions that Stanislavski released in a Soviet edition three years later just before his death. Stanislavski did not live to complete part two. Hapgood received fragments from Stanislavski's son, Igor. Not knowing that these were meant as a completion to a single holistic system, she published them as "Building a Character."
   
   This new edition, called simply "An Actor's Work," reunites the two volumes at last. Translator Jean Benedetti is also an erudite scholar of the life and work of Stanislavski one whom he has published several definitive biographical works. The translations themselves are somewhat stilted, but still a major improvement over the Hapgood translations, which remain the most widely circulated versions of Stanislavski's work. Part One is finally presented unabridged. Benedetti's reconstruction of the unfinished Part Two (from a motley selection of fragments amassed after Stanislavski's death) is graceful and readable.
   
   What is most striking, however, are the huge implications this new edition has on the way Stanislavski's system is currently understood. Part One of "An Actor's Work" dealt with the psychological construction of a role. Part Two was to elaborate on the physical training of the actor. Stanislavski stressed the importance of voice and movement training for the actor. Unfortunately, this second (and vital) half of the work went largely ignored in drama schools where "An Actor Prepares" became the standard text. (Stanislavski's original system, fortunately, made it back to the U.S. through Stella Adler who had studied with him for a brief period in Paris.) Thus, a huge emphasis was placed on psychology, when the implications on physicality went largely ignored.
   
   The fact that Part Two was never completed is not much of a disaster. As Benedetti notes, it is really only of historical interest. Actors today have much more sophisticated methods at their disposal, such as the Alexander Technique and Kristen Linklater's approach to voice training (I recommend her Freeing the Natural Voice).
   
   "An Actor's Work" is poised to become the definitive edition of Stanislavski for the next generation. It presents the first really viable alternative to Hapgood's translations. The fact that the hardcover edition is less expensive than the combined cost of Hapgood's "An Actor Prepares" and "Building a Character" should also not go unnoticed.



2. Jean Benedetti provides the modern translation of this classic text on actor training, a recommended pick for any college-level collection strong in drama theory and actor training. His offers a more accurate new translation of the classic, critiquing Method acting and its legacy and putting Stanislavski's two-volume work back under one cover as he originally intended. The result is a clearer, more revealing legacy than the prior translation, and deserves a spot in any serious college-level acting library.

5 comments about How Does the Show Go On: An Introduction to the Theater.

1. As a high school musical theater teacher, I wasn't sure that I'd be able to use this resource. All of the material presented is related to the Disney musicals that started in the 1990s. It turns out, this actually makes the material familiar to virtually all students. The book is well organized, and offers dozens of "behind the scenes" artifacts that students will enjoy. My students have benefitted from this great book... and I've also enjoyed it.



2. One of the biggest changes the theater has seen of late was Disney's successful track record with bringing their story-telling to the stage. As with most of Disney's greatest successes, their efforts were immediately unique as they ignored many of the rules along the way. In the process, their shows introduced a new audience to the wonders of live theater. So it's only appropriate that the coolest book that ever covers the theater experience comes to us from Thomas Schumacher, the head of Disney Theatricals.
   
   A good play begins with its script- its storyline. Here the journey is suggested in text, providing a beginning, middle and an end. Likewise, this book begins with a telling, informative narrative. It describes in simple yet effective words practically every element of the theatrical experience, be it on stage, backstage or in the 3rd row of the balcony. What will you experience from the moment you arrive at the theater all the way through the end of the curtain call? This book and a little imagination provide answers to that question quite fully. But watching a show is only the beginning. We also experience the many house activities, to the backstage work, to belting a song center stage and even at the initial creative meetings. It's quite simple and informative.
   
   Like any play that begins with a good script, the creative job to follow is how to tell that story. For anyone who has seen any of Disney's Broadway shows, you know that their "way" is simply stunning. From THE LION KING's introduction of Simba to MARY POPPINS' flying retreat over the balcony; from TARZAN's use of vertical stage work to AIDA's mix of modern stagework with a classic tale, the Disney audience usually leaves richly experience. So it should come as no surprise that the book is as beautiful and wild an experience as the works it trumpets. Not only is the book a collage of beautiful photographs easily identifiable to the Disney fan, but they are also surrounded by mixed media samples such as removable ticket booklets, script pages and even costume designs.
   HOW DOES THE SHOW GO ON? is a great book for the theater novice and also the seasoned veteran. It's a nice wink to the audience, a pat on the back to the backstage crew, a nod to the creators and a standing ovation to the performers. Check it out!



3. This is the best book on Theater I have ever seen. The design, story, and the interactive pieces are well put together in this book.



4. A really great overview of the wonderful world of Broadway! My daughter, (11 years old) who is a musical theater kid, absolutely loves it!



5. Get this book if you have young children so they can see what goes on back stage. I think it will make them want to see more of the action.

5 comments about Video Basics.

1. 
   
   Really am enjoying the book. A great wealth of info!



2. It is a useful book but it is unneccesary if you are taking a course along with it. If you really need a book to refrence to remember what trucking, panning, and medium shots are then go ahead and get it anyway. But really, any good college intro to film class should surpass this to the point you don't need it.



3. This book is a must for anyone getting into video production. Full of basic information that is conveyed in an intuitive and concise way, plus there is plenty of advanced knowledge to keep you referring back for years to come. Definitely a staple for all video people.



4. My boss told me to buy this book, and it is one of the best available book.



5. i am an electronic media communications major and this book has been used for a number of years in my school's communications program. video basics 3 has everything you need to know and everything is explained in much detail, yet not too complicated. there are great illustrations throughout the book that are very helpful as well.
   i bought this book used from my campus bookstore and i gotta wonder, why would someone return this book at the end of the semester? i still have mine and have re-read it through quite a few times, most definately something worth holding on to!

5 comments about The Hollywood Book of Death: The Bizarre, Often Sordid, Passings of More than 125 American Movie and TV Idols.

1. Not what i thought it would be. Describes the stars life more than the deaths.



2. If you are the type of person who shares an interest in the movies and television with a love of reading, and has a certain curiosity, you will find this book to be both appealing and addictive. Once you start skipping through its pages you'll likely find it difficult to put down, at least for any length of time.
   
   Don't be deceived by the title, though: it is much more about life and living than it is about death. But death sells and life doesn't. In any case, the book recounts the lives and deaths of many of Hollywood's well-known and lesser stars, both long-past and fairly recent; concentrating most heavily on their lives, successes, failures, fears, anxieties, and failings. But, as the title implies, each brief life story ends with a star's death; some accidental, others alcohol or drug related, some in obscurity, others murdered, by natural causes, simply puzzling, or by suicide. If you're a movie fan, and especially if you're a trivia fan, you can't help but be captivated.
   
   Besides being interesting, however, these stories also tell us a bit about human nature. For many of these stars, who appeared to be on top of the world, with everything to live for, somehow felt that they were unworthy or had nothing and that nothing was of any value. Others felt threatened or overwhelmed, especially when they aged, or felt their sex appeal, fame, adulation, or simply their livelihood slipping away.
   
   Best of all, however, besides telling its stories, this book is also a feast for trivia fans. Where else can you learn such obscure facts as these: that Florence Lawrence was the first actor named in a film and the first movie actor whose name was known by the public; that a placard placed at John Belushi's graveside reads, "He could have given us a lot more laughs, but noooooo."; that before dying penniless and alone, child actor Bobby Driscoll said of himself, "I was carried on a satin cushion and then dropped into the garbage can."; that when the not so sophisticated "It Girl," Clara Bow, was asked what "It" was," she replied, "I ain't real sure."; that Lou Costello's last words were, "That's the best ice cream soda I ever tasted."; that Greta Garbo didn't really "want to be alone," she simply wanted to be left alone; that, just before he died, Edmund Gwenn, Santa Clause in "Miracle on 34th Street", when told "It's awfully tough, isn't it?" replied, "Yes, it's tough, but not as tough as doing comedy."; that Elvis Presley's will requested that his funeral procession include 16 white Cadillacs and one white hound dog; that the supposed great movie lover, Charles Boyer, committed suicide two days after his wife of 44 years died of cancer; that the famous "Hollywood" sign was erected to promote a real estate development and originally read "Hollywoodland"; or, finally, that Herv'e Villechaize of "De plane! De plane!" fame was the youngest artist ever to have a painting hung in the prestigious Museum of Paris?
   
   If those don't peak your interest and get your trivia juices flowing nothing will. Enjoy! Five stars.



3. This is a great book. Anyone interested in the seedy history of Hollywood stars will definitely enjoy this book.



4. Very Good book, well written.
   I for some reason have a morbid fascination into hollywood deaths and this book definately satisfies my curiosity.
   Highly recommend



5. The title of the book says it all. The book details the deaths and often the lives of some of Hollywoods favorite players. It is broken up into sections depending on the type of death. Some of the catagories and people in them are:
   1. Mysterious:
   a. Natalie Wood
   b.Sal Mineo
   c. Bruce and Brandon Lee
   and many more
   
   2.in obserity-these people had not been in the limelight in a while
   a. Lucille Ball
   b. Joan Crawford
   c. Mary Pickford
   as well as many more
   
   3. suicide
   a. Freddy Prinz
   b. Lupe Velez
   as well as others
   
   4. Drugs/alcohol
   a. Judy Garland
   b. Chris Farley
   c. John Barrymore
   and many more
   
   This book is full of interesting tidpits that any person who loves old Hollywood will definitly injoy

No comments about Rudolf Laban (Routledge Performance Practitioners).