5 comments about Three Uses of the Knife: On the Nature and Purpose of Drama.

1. I read this book every year, and every year I take something new from it. There's SO much in this short book. It's FILLED with truth about life, art, and life & art.



2. Through studying David Mamet's theories, I came to realise that a character can be understood not only through what they do, but also through what they say. My style has started to incorporate Mamet's technique of having characters talk, often to each other, as well as to express themselves through physical acts like gestures and walking. The education in this book has convinced me to abandon my earlier style, where characters have wordless internal monologues while not moving for a play's 2 or 3 hour duration.
   
   3 stars.



3. This book is a great essay about dramaturgy and politics that evolves some philosophical and psychological theories.



4. I bought this book when it first came out in hardcover. It was about triple the price that it is now on Amazon, and many people I knew thought I was insane to buy such a small book for a high price.

   But to me -- it was all too worth it.

   David Mamet is all at once a very clear writer and a very mysterious writer. Critics of this particular book mainly see fault in its "seeming" lack of clarity -- Mamet has the intellect of an academic but does not feel that he should write like a dry academic because ACADEMIC PAPERS ARE BORING -- right? At least, I think so.

   Three Uses of The Knife -- I've read it about 30 times, I've underlined my favorite parts, and the dust jacket is falling to shreds. When I had Mamet sign it at a book reading he gave me this confused look because everyone had a brand-new book (it was South of the Northeast Kingdom) and I had this tattered one. I had to have that book signed because that book is really awesome and means a lot to me (it taught me alot).

   Wether you love it or hate it you have to appriciate it. Mamet's genius is undeniable, and the confidence he enbues in his writing is unforgettable.




5. This reads like a weekend brainstorm into the dictaphone, or party-chatter with metropolitan friends. First glance - you've got the large font, wide-margins and generous line-spacing to pad these notes out into a book. Then you notice that nearly every paragraph includes several parenthetical thoughts (like I just had another way-outer to squeeze in here, okay?), plus quoted after-thoughts (sorry, couldn't find "the right words" just then, you know?) - and foreign phrases swept in from every part of the old country - like this gem: "This pronunciamento can be taken as a jejune promise". Footnoted brain-sprinkles complete the overall intellectual profile of this work.

   The reader doesn't get any help to piece it all together. Eventually, you might suspect Mamet has something to say about the "three acts" of theatre (no other dramatic structures apparently exist). Mamet dips here and there into the function of drama, his bold thesis being that theatre is magic. Theatre, he declares, is a place of wonder, and no place for popular entertainment or politics. We are to walk out of theatres with "cleansing awe", knowing we are "sinful and worthless".

   Mamet never considers any ideas apart from his own. He draws heavily on the Old Testament and a primer on Freud for back-up, but no theatre theorists ever get a mention - apart from Brecht, with a single word, namely: "problematic".

   Most of "Three Uses" is actually nothing to do with theatre. It's an outpouring of quotables about statesmanship, the "Information Age", the psychology of the masses, the causes of gambling ... all argued with arrogant inconsistency: Mamet rails against "centralisation by the body politic", and then derides all manner of extremism; he argues against "avant garde nonsense" with absurd phrases like "In endorsing a blank canvas, or the Domino Theory, the individual becomes like a King Canute". For Mamet, "good art" is no more than The Bible, Shakespeare and Bach, plus an American work - "Death of a Salesman", of course. There are no surprises in the ideas, however much they're dressed to impress with showy associations and stiff fundamentalism. Too bad that the result is more like a freshman's freewheeling weblog on "life", than anything from the likes of Brook or Grotowski on "the theatre". American critics equating it with such works is no more than chauvinism.

   One use of the knife Mamet forgot was editing. Then he might have been able to communicate something useful here - into 3 or 4 pages. But there's no holding back the primary process exhibitionist. You have to get out the knife and do the editing yourself.
   
   Oh, yes, the knife. Nice title, and it's the substance of a few lines near the end, which Mamet cares - and seems only able - to explain by offering more curly metaphor: "the knife is the dramatist's bass line". Meaning? Dramatists are misanthropes who basically want to kill their audiences? Who knows, but the meandering content and grandiose style of this work sure suggests Mamet's fundamental contempt for the reader.

5 comments about Stand-Up Comedy: The Book.

1. Judy Carter does an excellent job teaching the average person to understand comedy. It is full of examples and exercises that make it very useful and practical.



2. I asked if you WANT to be funny rather than if you think you're funny, because Judy Carter shows that we can ALL be funny if we just dig into our own lives--the good, the sad and the real bad--and find the humor in it. And she shows us how to do just that. Carter's writing style has a way for making you feel she is right there cheering you on. This is not just for those dreaming of standing up in front of a comedy club. It's for anyone who wants to find the humor in their own life AND for those who want to be able to tell their friends a story and have them actually laugh with them not AT them. I LOVE it and learned from it.



3. This is touted as the Bible of stand-up. There are very good exercises in here as well as funny anecdotes and bits of comedians of the 80's and 90's. It is a bit of a trip down memory lane with the pictures and comedic bits of old but still very helpful. If you have any interest in trying stand-up, I recommend this book. Thinking you are funny and creating funny are two different things and Judy Carter's book helps you learn the difference.



4. Great insight about the craft and bussiness of Stand Up. Second best to start and stand up!



5. This is the best for someone looking to start standup. The book had cool questions for you to fill in the blanks and has phone numbers and networking. I read it and it definately makes you more informative and confident in writing your skits. I'm a comedian so I know. :o)

2 comments about Television Production Handbook.

1. This is an excellent reference text for TV production students. I use this in my classes. The problem is it is very expensive and it is missing some key framing concepts (the rule of thirds). It can be redundant at times. As a whole though it is an excellent text.



2. This textbook is a truly fantastic textbook if you want to learn about television production. There are no other textbooks like it.....it literally is the bible for all television production students. I have done several internships in the field of television and this textbook has covered a lot of what I have done in these internships. Its amazing how much of what I have read and seen in this textbook are also things that I worked with in my internships. It's simply the best textbook out there for television production students!!! Look into other works by Herbert Zettl, he is the Sigmund Freud of the television world!

5 comments about Tartuffe (Dover Thrift Editions).

1. Exactly how the seller described it, and it arrived in a reasonable amount of time. Great product, great seller.



2. Intriguing and entertaining, the play Tartuffe is a satire displaying the scandalous truths and facades of the seventeenth century. Although initially written for the people of King Louis the XIV, the book can be read by an every day high school student or adult. Through reading the play the audience is able to see the deception of people and that we can not always judge by what we see. Moliere brings about this concept through his witty play, and in such a manner that you can't put it down. In Tartuffe, Moliere uses the characterization, rhyme scheme, setting, and irony to effectively inform an every day audience about the distinction between appearances versus reality.
   
   Characterization of Tartuffe
   
   The perfect example of a hypocritical facade is displayed in the characterization of Tartuffe; in fact the name can be defined as one resembling false piety of religion. Tartuffe's character doesn't appear until nearly the middle of the play and the first image the audience receives is of him demanding his servant to, "hang up my hair-shirt, put my scourge in place, and pray Laurent for Heaven's perpetual grace. I'm going to prison now, to share my last few coins with the poor wretches there." (Tartuffe 3.2). The scourge and hair-shirt are used as a means of penance and chastisement. Religious ascetics will operate these items in private, showing their true devotion to God and to no one else. Tartuffe, however, made it obvious to the entire household what he was doing. Cleante, the character of reason, expounds upon Tartuffe's character, "those whose hearts are truly pure and lowly, don't make a flashy show of being holy. There is a vast difference it seems to me, between true piety and hypocrisy." (Tartuffe 1.5). If Tartuffe was truly pious, he wouldn't need ratification from others for his good deeds, self-satisfaction would suffice. Although Tartuffe appears holy and raves about his goodness, in reality it is just for show.
   
   Another example of Tartuffe's hypocrisy occurs with Dorine. He tells Dorine to "cover that bosom, girl. The flesh is weak; such sights as that can undermine the soul." (Tartuffe 3.2). Tartuffe might appear offended by the act of seeing a women's chest, however, he doesn't have a problem with sleeping with another man's wife. In the next scene Tartuffe's counterfeit façade is dissolved with Elmire and he offers her "love without scandal, and pleasure without fear" if she will commit adultery with him. To Tartuffe "it is no sin to sin in confidence" and though "some joys are wrong in heaven's eyes, heaven is not averse to compromise." (Tartuffe 4.5). In the scriptures, committing adultery is the third worst sin to commit in God's eyes. Moliere uses this example of Tartuffe's character to expose the many scandals occurring in the seventeenth century with the priests and their inability to remain celibate. Despite the fact priests and those who act pious [such as Tartuffe] appear holy, in reality they sometimes use young girls, committed adultery, and partake in many other scandals.
   
   Not only does Tartuffe aspire to sleep with another man's wife, but also he indulges in the seven deadly sins. While Orgon is away from the house, Tartuffe ate "a leg of mutton and a brace of pheasants," "snored away until the break of day," and "drank four beakers full of port." (Tartuffe 1.4) Tartuffe is supposed to be a devout follower of the son of God. Nonetheless he overstuffs himself, eats too much meat, drinks and oversleeps. Orgon tries defend Tartuffe by saying he "gave him gifts, but in his humbleness he'd beg me every time to give me less." What Orgon doesn't understand is that a Christ-like figure would not accept gifts, and Tartuffe still takes them in, along with wishing to overtake Orgon's household. Tartuffe's sanctimonious display allows the audience to effectively see that he is a hypocrite. Moliere makes it a point to the audience that just because someone appears holy, it does not always hold true and in reality they could be hypocrites.
   
   Characterization of Orgon
   
   Moliere uses the characterization of Orgon to portray a father attempting to control his household when in reality Orgon is gullible and Tartuffe is running the household. Orgon enforces his "fatherly role" upon Mariane telling her Tartuffe is "to be your husband, is that clear" because "it's a father's privilege." (Tartuffe 2.1). He also repeatedly orders the other members in the family around, announcing he is the one giving the orders in the household. (Tartuffe 3.6). Although Orgon attempts to be the one giving the orders in the house, Tartuffe depicts Orgon as growing "more gullible by the day" and that he "could lead him by the nose." (Tartuffe 4.5) Tartuffe is able to get Orgon to sign papers to make him Orgon's only son and heir and eventually Tartuffe takes over Orgon's household. Moliere uses this example to effectively inform his audience that even though we appear to be in control of situations, giving someone too much power and being gullible can lead to a reversal of fortune.
   
   Rhyme Scheme
   
   Another tool Moliere uses to show the difference between appearance and reality is through the rhyme scheme. Moliere employs rhymed couplets to amplify the reading tempo. A rhymed couplet is two lines where the ending syllable of each line rhymes. For example: "there is nothing that I more cherish and admire than honest zeal and true religious fire." (Tartuffe 1.5). The prompt reading symbolizes the frantic disorder of Orgon's household. Although the family tries to put on a façade that they are a perfect aristocratic family of the time, in reality turmoil and conflict subsist throughout the household. This example was true of many families of the time and is also true today.
   
   Setting
   
   The setting also portrays the turmoil of the home and augments the pace of the play. The whole play takes place in the same room in Orgon's home and the characters are constantly entering and exiting the room. This causes chaos and confusion resembling the situation of the family. Moliere efficiently informs the audience that although households [in the 1600s or today] may appear to be perfect on the outside, if you dig a little deeper into the reality, they can be muddled.
   
   Dramatic Irony
   
   Moliere also utilizes irony to expose the difference between demeanor and veracity to the audience. On two occasions the play uses the dramatic irony of Damis or Orgon hiding in a closet or under the table while a conversation between Elmire and Tartuffe is occurring. The first instance has Damis hidden in a closet and the audience gets a whim of Tatuffe's true character. Although Tartuffe "may be pious, he is human too." (Tartuffe 3.3). Tartuffe starts touching Elmire and proclaiming his lusts for her and his pious mask becomes undone. It is not until the second occurrence of dramatic irony that Tartuffe's façade is completely gone and the reality of his lasciviousness is unveiled. Tartuffe tells Elmire "to be his pupil" and he will show her "how to conquer scruple." (Tartuffe 4.5). Once again the audience can see the hypocrisy of Tartuffe. Moliere uses this tool of dramatic irony to show the audience that we can not always believe what we see because, once we truly get to know someone they can be a completely different person than they appeared.
   
   I would highly recommend this book to all people fifteen and over because not only does Moliere give you insights on life, but also he is very entertaining and satirical. Due to the rhymed couplets, the book is a very quick read and it is enjoyable because of the irony and witty diction used throughout. Tartuffe is guaranteed to make you laugh and it will institute deep thinking for those wanting to read an academic work.



3. For those who knows Shakespeare's story, "Othello", it's amazing how similar this is. The only difference is the knowledge of situation by the sharp-tongued maid. Oh, and the deus ex machina ending that abruptly steals the remainder of your breath away (after having laughed so hard at the ridiculous, satirical antics of the antagonist and the idiocy of the protagonist). If you enjoy French humor, this is for you. If not, or if you prefer to cross the thin line between comedy and tragedy, read Othello instead.



4. Beware! The Dover edition is NOT the wonderful Wilbur poetry translation. It is a lumbering, stilted prose translation based on an 18th century version. The play comes through, but barely. Since no translator was listed and so many reviewers indicated that this was the Wilbur version, I ordered this for my theatre class to read -- disaster! Spend the money on the Wilbur -- it's worth it.



5. This book satirizes the conventions of the time period it was written. It is extremely funny, if you can understand it. The translation is a bit difficult, not for the common reader. I had to truly concentrate to understand everything.
   It is short and concise, for those who like a fast accelerating plot.

3 comments about Zoot Suit and Other Plays.

1. I enjoyed reading the play Zoot Suit. It focuses mainly on the Zoot Suit riots of the 1940's in Los Angeles and the great amount of conflict that surround the riots. The main character, Henry, goes out on a date with his girlfriend, Della. After their date they meet with friends at a club to go dancing. The Downey gang, who is their rival gang, show up at the dance and a fight breaks out. One of the members of the Downey gang is stabbed and Henry and the boys are sent to jail after an unfair trial. When Henry is sent to jail you can really feel emotion toward Henry and his family. The reader feels sympathy for Henry because of the way he is treated during the trial. The play really focuses on the treatment of the pachucos and the conflicts they go through. I was hoping for more concentration on the time period rather than the conflict. The play is very well written and is quite powerful at times. The characters seem to come alive and it feels like they are in the room with you.



2. Zoot Suit is the greatest play! I knew nothing about the Zoot Suit Riots until I took a class in Mexican-American Society and Culture and was introduced to this topic. When did it get erased from our history, and why don't we hear about it?

   There is so much symbolism involved in the play, which adds to its appeal. Read it today! Also, take some time and learn about the Sleepy Lagoon trial and the zoot suit riots.




3. Reproduced are three plays by influential Chicano director/playwright Luis Valdez. They are "Zoot Suit," "Bandido!" and "I Don't Have to Show You No Stinking Badges!" Included is a 14-pg. introduction to Valdez's creative history by Univ. of Calif. theater scholar Jorge Huerta.

   I first met Valdez and his wife in San Francisco after a preview of the revised "Badges!" in March of 1990. I was impressed by his unhurried cordiality. Valdez's son Kinan was playing Sonny Villa, a Harvard undergraduate who shocks his Hollywood-extra parents with the news that he has quit school. A 1986 production of "Badges!" inspired Josefina Lopez to write her first play "Simply Maria, or The American Dream" and to go on to create more roles for Chicana/Latina actresses.

   This past weekend I saw Kinan at the San Diego Rep as the gallant outlaw Tiburcio Vasquez in the fun and bawdy musical "Bandido!" Vasquez was a native Californian of good breeding and above-average education whose legal public execution by hanging in 1875 strained relations further between native Californians and Americans of that era. I read the script immediately before the production, but it's best to wait till later so you don't spoil the suspense of what's going to happen next.

   Valdez became the first Chicano playwright to have access to mainstream theater and Broadway stages with the production of "Zoot Suit" in the late '70s. The play was especially successful in Los Angeles, where for people of my father's generation the Sleepy Lagoon case and the Zoot Suit/Servicemen Riots became a part of family history and a bad memory of the virulent racism against Mexicans. Actor Edward James Olmos made the narrator role of El Pachuco memorable.

3 comments about The Seafarer.

1. I bought this because the Irish brogues were sometimes a little hard to understand on-stage, plus I wanted to relive that delicious second-act card game again (the only way to do that with a play is to read the script). It's great seeing how the actors brought scenes and words to life. I've already loaned this book to others who saw the play before it closed on Broadway this month.



2. The living rooms in "The Homecoming" by Harold Pinter, "The Lieutenant of Inishmore" by Martin McDonagh, and in this play, "The Seafarer" by Conor McPherson are as scroungy, grotty, and disreputable as the males who inhabit these dumpy premises. The house is north of Dublin. Some plays can be read and enjoyed as a partial substitute for seeing a live performance, but after reading this one, I realize it is essential to see a live presentation to get the full import of this play. It is an actor's dream for the current five man ensemble on Broadway because the stage business is as powerful as the lines.
   There is a Faustian pact element to the story. The central focus is on Sharky, a loser, who lives with his blind brother. Two visitors and a mysterious fifth man, Mr. Lockhart, gather together Christmas Eve day and night and get extremely drunk. They play cards, money is lost, and the story opens up to the audience. Some of this is familiar territory, and the plot is not too complicated. Lockhart probably has the best lines, but the other characters would be a joy to watch. There is great comedy here along with the more serious stuff. The characters are beautifully crafted, and they are a decidedly odd bunch. Each one a piece of work in his own peculiar way.
   As in most plays, secrets from the past are unearthed and become grist for the dramatist's mill. When Lockhart and Sharky are alone, Lockhart reminds him of a card game they had in the past. For these two and the audience the game of cards becomes a transforming experience. The play is well worth a read but try to see it on stage if at all possible. It would make a great movie or television play, but, I think, the audience would be limited.
   Nine Lives Too Many
   The Daemon in Our Dreams
   The Rice Queen Spy
   Clawed Back from the Dead



3. Sharky lives with his older brother Richard and a crony named Ivan in a coastal village north of Dublin. Richard and Ivan are constantly drunk; Sharky is uneasily sober. On Christmas Eve, they are visited by beer-swilling Nicky and his guest, Mr. Lockhart. Mr. Lockhart is the Devil. We know he is the Devil because he tells us so. ("I'm the son of the morning. I'm the snake in the garden."). Twenty-five years ago he helped Sharky escape a manslaughter charge, and he has now come to collect his payment: Sharky's soul. Sharky can avoid damnation only by beating Mr. Lockhart in a poker game.
   
   If you thought that Ingmar Bergman's conceit of a man playing chess with Death was self-conscious, portentous and middlebrow (and you were right), you may not be much more receptive to a man playing poker with Satan. This marriage of Faust and Friel doesn't work, not least because the author is more interested in the crapulous antics of Richard, Nicky and Ivan than in the state of Sharky's soul. Sharky's character and history are so sketchy that one wonders why the Devil should covet such a nebulous figure, or why we in the audience should care about his fate. As for the supposedly hilarious drunkards, they become tiresome after three minutes.

5 comments about Contracts for the Film & Television Industry.

1. A good, albeit US centric book, with some handy contracts. Unfortunately the digital version of these contracts are only available buy paying much more seperately. Would be nice if these were included or downloadable.



2. Although he is based in L.A. and this book can throw New Yorkers off a tad, Litwak offers great information, clean and concise. Could not ask for more. Happy with the purchase and do recommend this to anyone needing these types of contracts. Although I do wish his CD (with these contracts) was alot more cheaper than what it is going for now.



3. Good basic legal information oriented towards the independent feature film producer but useful for anyone who wants to produce film or other distributed video. Won't replace having an attorney but will allow you to do some things by yourself and understand what is going on when you need to hire one. Similar to "The Independent Film Producer's Survival Guide" but with enough distinct material (example contracts for instance) to be worth having both.



4. Comprehensive and a terrific resource. The goal is not to use the book instead of legal advice, but it is a terrific starting point.



5. This is a useful and inspirational book that explains a variety of legal film production matters and provides drafts of contracts for basically every aspect of film & TV production. And it covers all major players in the colossal process of making a film, helping to make sure that whatever your role in the production is, you understand your rights.

5 comments about Gypsy: Memoirs of America's Most Celebrated Stripper.

1. The book is an entertaining read with photos rounding out the text. Once Gypsy hits the big time, towards the end of the book, the story's excitement wanes, the struggle for show biz success being more intriguing than the victory itself. Overall, worth a read, especially on vacation as a beach read.



2. If you're a fan of the musical Gypsy, like me, you'll read this book. I've read from various websites, that the book is not entirely factual and that you need to read Gypsy's sister June's book, early Havoc, to get a clearer picture of what life on the road was like. But, entirely accurate or not, it's highly fascinating and an excellent look at the theatre of the time.
   
   The book bears small resemblances to the show: There really was a monkey named Gigalo, Louise was given farm animals as pets for her birthday, there is a man that Rose links up with for several years who manages the troup, they did eat Chinese food constantly, make coats out of blankets, and a cow really talked to Rose in a dream.
   
   There are major differences between the show and the book: The switch from Vaudeville to Burlesque was less dramatic in the book than the show -almost natural. "Herbie", Rose's companion and manager, left long before the act went Burlesque. And one very 'big' difference: you'll notice in the show that Grandpa calls Louise "Plug" but we dont' really know why. The little girl playing Louise was too adorable for words and grew up to be the stunning Natalie Wood. But, Gypsy got the name plug because she was a large child. And she grew up large. It wasn't until a couple years in Burlesque that she became more svelte. This is also a major point in the books, detailing the diets she was on and how it destroyed her self-esteem as a child.
   
   Gypsy, the movie, is a fun-filled version of life on the road for a vaudeville troupe. Yes, there are hard times, but nothing so bad. Gypsy the memoir describes eviction, near starvation, nights of sleeping in the cars, almost frozen, con artists - real life struggle.
   
   It's a quick read that is terribly fascinating. I highly recommend it.



3. "Gypsy" is an autobiography by one of the most famous pair of sisters of the 1940's: Gypsy Rose Lee, born Louise Hovick, the stripper, actor, and eventual talk show host; sister to June Havoc, the actor, born June Hovick. In it, Lee covers some of the same material as does Havoc in her two-book autobiography: Their vaudeville childhood on the road with their monstrous stage mother Rose,and their adult struggles to continue their showbiz careers, and to deal with their mother. This book, furthermore, is the basis for the brilliant stage musical and movie, "Gypsy."
   
   Perhaps because she was the elder sister, perhaps because she was more business-minded, Lee's book provides a much fuller, more accurate picture of their vaudeville years than do Havoc's. She cites actual contracts, salaries, and the logistics of their never-ending trouping, from Vancouver, Canada to Tiajuana, Mexico; from San Francisco, California, to Portland, Maine. She names the many animals that trouped along with them, including numerous dogs and guinea pigs, a cat or two; Gussie the goose; Waupie the lamb; Gigolo the monkey; and Porky the pig.
   
   She gives more complete versions of incidents than June does, such as the time "Roxy" Rothfels, an influential New York theater owner-impresario, wished to buy June's contract to see that she got training in singing and dancing equal to her talents; he was repulsed by a hysterical Rose. (June's recounting of the story is so sketchy that it's puzzling.) Gypsy, moreover, seems to have monopolized the few pictures of their earliest years for her book; June's books are scantily illustrated.
   
   Gypsy tells us about meeting the handsome young manager of a Detroit bookstore, George Davis. (It's beyond the scope of this book, but Davis was eventually to invite her to that famous literary boarding house in New York's Brooklyn Heights' Middagh Street, where she was to live with W.H. Auden, Carson McCullers, Jane and Paul Bowles, and Benjamin Britten, almost everyone of them alcoholic and gay, though she was not. She was to bring the money and the cook that kept the enterprise going a few years more, and Davis, a highly-talented editor, was to midwife her phenomenal first book, "The G-String Murders.")
   
   The author does tell us of the day she became Gypsy Rose Lee (Gypsy, a traveling entertainer;Rose, Mom's name; and Lee for Louise) on the marquee, and a burlesque star. She was fifteen years old. She talks about working with Fanny Brice, her years with the Minsky Brothers, and in Florenze Ziegfeld's "Follies." She mentions her frequent arrests, and the inspired publicity stunts that kept her in the public eye for many a year. She closes her book with the call to Hollywood. The attempt to extend her career to films was not ultimately successful, but her career as an entertainer was to last for quite a while yet.



4. Rose Louise Hovick is known to the whole world as Gypsy Rose Lee a highly respected top paid burlesque queen of her day. In the 1930's Gypsy turned stripping from sleaze into an art form, this was done with the main use of tease, quick wit and intelligence all done with her tongue in cheek style, quoting well known Literature phases even in French. This book is bewitchingly colourful; it keeps you engaged throughout each chapter with Gypsy's smart, comic storytelling.
   
   This book takes you back to Vaudeville those wonderful days of the family oriented shows in there heyday. Gypsy describes what it was like to be part of the Orpheum circuit on stage and behind the scenes. Gypsy Rose Lee wants us to remember Rose Louise Hovick little miss nobody the talentless one. A girl with the bad teeth who played one of the boys in the back row of her little sister's show, Dainty June And Company.
   
   Dainty June and co. was run by Mama Rose the famous of all show biz mothers. Mama Rose real name Rose Thompson married John Hovick, Rose was age fifteen she had her two girls then divorced him. A very shrewd woman who had an intoxicating and intimidating personality. Con artists, awkward jealous stars and gangsters would not get in the way of her plans, being a star that's what mattered. Vaudeville had been fading for sometime the talkies were taking off, although Mama Rose thought Vaudeville was just going through a bad patch much worst happened Dainty June runs away from her all consuming mother at thirteen and gets married. Mama Rose decides this is just a hiccup in the mean time it was all about making money; Rose Louise Hovick is now the money maker but how! They still had to find her talent. Determination, Mama Rose was unstoppable lies and deceit she would succeed however rough it gets, seedy hotels, living in a tent, where there was a will there was a way. Through the eyes of a young girl, silently watching, learning, waiting, waiting and waiting all Rose Louise needed was a chance, a chance to shine and it came in an expected way.
   
   An array of real life comedy characters shine through in this book. None larger than life Mama Rose herself, tricks up every sleeve and woe betide anyone to cross her path. Grandpa and Big Lady (Grandma) always on hand to bail them out. June Horvick Sister to Gypsy (Was Dainty June became a Film Star in her own right without Mama Rose intervention) Fanny Brice famous stage star/Baby Snooks gave Gypsy her first acting role as a child (Barbra Streisand portrayed Fanny Brice in the film Funny Girl) Billy Minsky ran burlesque theatre shows in New York and gave Gypsy her break as a big star. Rags Ragland (John Lee Morgan Beauregard Ragland) had been a boxer, then a burlesque comedian, broadway performer, then Hollywood, Good Friend to Gypsy in her early days. Florenz Ziegfeld, Ziegfeld Follies took on Gypsy. Waxey Gordon, bootlegger racketeer, gangster helped get her teeth fixed. Lastly and let me not forget those wonderful comedy animals that performed and travelled with them around the country one by one they lost their lives in a tragic way but bless them all.
   
   This book is sheer Entertainment, In the prologue Gypsy mentions that although her memory of things are sharp and clear for the trivia; her memory of names and dates escape her in certain places but you can deduce from historic events what year you are actually in. Maybe for yourself as a reader you may find this irritating especially with the lack of dates but after reading the whole story you begin to understand, date juggling became part of life when Gypsy was a child.
   
   Example: Gypsy birth date changed frequently depending on what town and theatre they worked that month or week and they were endlessly trouping around. Gypsy was constantly underage (Mama Rose went to great lengths to change documentaion when need be). Newspapers were only read for reviews of their performances of their shows. Dates on a day to day basis were not necessary or a requirement to gypsy as a child she was to busy trying to remember her new date of birth and different details to keep the authorities at bay.
   
   A few other pointers the publication of this book was back in 1957 taboo's were still out there, this book is based on Gypsy's early days. Relationships with men therefore were few and only briefly covered.
   
   Gypsy only son Erik Lee Preminger although was introduced in the Prologue was still only young at the time of publication and out of respect for him absent details in certain places may have been for that reason. Another reason may have been for Gypsy's own privacy and precautions of those times. Take all this into account when reading.
   
   Even though I have mentioned the above points this does not take anything away from the book, it's completely fascinating to read what shines through was Gypsy Rose Lee's incredible Zest for life and her intelligence. It's Irresistible.



5. Many people don't knwo who Gypsy Rose Lee was, if you don't she was one of the most highly respescted highly, highly paid strip teasers in the business. What made her different though was the class with which she did it. There was nothing leude, or vulgar about her acts, which was what made her a star. If you like reading about lives you normally wouldn't, like a burlesque queen. Then this is definately for you. She had an amazing life, and anyone can learn alot about how to face life through this book. It is not that long and is fast paced, filled with comedic interludes. All I can say is enjoy the show...

5 comments about The Pointe Book: Shoes, Training & Technique Second Edition.

1. This is a great book for teachers or pre-pointe or pointe dancers. Causes you to slow down and really think about what you are teaching and when a dance should go on pointe. My Moms always ask when their daughter will be "ready" Now I have some recommended reading when the simple answers I give are not quite enough for some dancers and parents.



2. The Pointe Book: Shoes, Training & Technique Second Edition
   
   I purchased this book because I am getting back into ballet after several years out due to non-ballet related injuries. I found a lot of useful information, but there were a lot of things that I also wished that the book had included, or had talked more about.
   
   If you have absolutely no experience in ballet, or are not taking any training or don't have an experienced ballerina handy to answer questions, this book is going to be a bit confusing. It is excellent for giving you contact information and company and product reviews for ballet gear providers. However, I did notice that the information contained in the book on some of the companies and their products, particularly regarding pointe shoe sizing, differed markedly from the information provided by the company/manufacturer on their on websites. I would not rely only on the information contained in this book if you are going to purchase pointe shoes using this information. If you are going to order via the internet or mail order, please take the time to either visit a store for a personal fitting, or else contact the manufacturer via telephone, e-mail, or look over their website. Just by chance, I had recently purchased a new pair of pointe shoes by one of the makers listed, and had I used the book's size guide, I would have purchased shoes that were no where near the correct size.
   
   It is an excellent resource for those that are taking class and have instructors to turn to for further explanation, or those that have some degree of en pointe experience. I do wish that the dance sequence sections had been a little more detailed; that section was a big disappointment as I found it was not anywhere near as marvelous as it had been billed.
   
   Overall, there's just no real substitute for an en pointe class with a real, live, knowledgeable instructor in front of you to answer questions. Yet, I wouldn't just write this book off, and I don't think it was a waste to purchase it. It does highlight some good points and information, but it could be a whole lot better--and more complete.



3. A really thorough guide to every pointe shoe there is out there, a great history of the technique, and lots of advice on pointe work. A great purchase for anyone interested in pointe work, but there's perhaps so much information on different shoes that it could be confusing for beginners.



4. Now in a new and expanded second edition, The Pointe Book: Shoes, Training, & Technique is a remarkable manual and examination of ballet dancing pointe shoes, and the methodologies used by professionals. Choreographic experts Barringer and Schlesinger apply their years of knowledge and personal experience in the world of fitting and training with pointe shoes to matter-of-factly present how dedicated and athletic individuals achieve remarkable feats of grace and balance. Packed with detail, The Pointe Book is as comprehensive as can be covering everything from different types of shoes to the hazards of learning to walk on one's toes to resources for help with pointe-related injuries and much more. Highly recommended for anyone with a professional or casual interest in the world of ballet.



5. I have found this book very interesting to read, and somewhat helpful. The book is American based which means that not all the information is relevant to an Australian reader such as myself. The second half of the book presents detailed pointe classes which are very helpful, but if you are not familiar with all the terminology you will need a ballet dictionary to use the information. Over all I have found this book interesting and helpful from a student point of view but also think it would be a good read for anyone who loves ballet.

5 comments about Interpersonal Communication: Relating to Others (5th Edition) (MyCommunicationLab Series).

1. Product arrived exactly as promised. It was a pleasure to do business with this seller.



2. this came in a 3 ring binder format, encased in plastic, without a back cover, and a cardboard backing. i stress, do NOT buy this



3. I'll keep this short and simple. I own the book, and thus far is very helpful to explain the many facets of person to person communication. Lots of vocab words and ideas.



4. The interactive CD includes websites, video clips, audio clips, and tests, that increase interest in the subject matter. It's fun.



5. ...I read this book for an undergraduate class and thought it was very good. One problem-- the final chapter was too brief, they should have split it into three like the previous edition.