The Dramatic Text Workbook and Video explores the expressive potential of language and how you, as an actor, director or teacher, can develop the skills to release that potential in rehearsal and performance. Written by acclaimed voice teachers David Carey and Rebecca Clark Carey, this practical textbook shows how to bring together the power of language with voice and provides practical approaches to each aspect of verbal expression with the aid of classical and modern scenes and speeches. Chapters consider: · Sound: speech sounds and how to use them more expressively · Image: bringing life and specificity to images when you speak · Sense: how to focus on the most significant words and phrases in a speech or scene · Rhythm: how rhythm is created and used in both verse and prose · Argument: the structure or logic of language The Dramatic Text Workbook and Video, a new edition of The Verbal Arts Workbook, includes a revised introduction, updated reading lists and access to over 90 minutes of online video workshops, exploring the key techniques and tactics discussed in the book.
Refreshing and imaginative, this book teaches through enhanced awareness and instructs through clear and specific exercises." Cicely Berry A practical course for actors and other professional voice-users to achieve clarity and expressivity with the voice. Setting out the fundamental principles of voice training, the book provides structured and informed methods for developing vocal power, range and flexibility. At the heart of the book are practical projects with exercises and examples supplied in the accompanying online videos, which enable you to: - connect your breath with your voice - meet the demands of your performance - use your voice expressively through fully controlling pitch and range Each chapter consists of an introductory framework; explorations; exercises; follow-up work; suggested texts and further reading altogether offering a unique, student-centred approach not found in other voice books. This revised edition speaks more directly to the actor, rather than the voice teacher, through revised terminology and descriptions, updated references, additional appendices on health and other issues related to trends in contemporary drama and questions of equality, diversity and inclusion with respect to vocabulary and suggested texts. Includes forewords by Cicely Berry and Fiona Shaw.
Actors need to learn not only how to use their voice, but to use voice and language together. This book is about the expressive potential of language, and how actors can develop the verbal skills to release that potential. Written by tutors at the Royal Academy of Dramatic Art (RADA) and authors of the successful companion title, The Vocal Arts Workbook + DVD, this book provides practical approaches to each aspect of verbal expression: Sound: speech sounds and how to use them more expressively Image: bring life and specificity to images when you speak Sense: focus on the most significant words and phrases in a speech or scene Rhythm: how rhythm is created and used in both verse and prose Argument: the structure or logic of language Putting it all together using one classical and one modern scene Each of the chapters consists of several sections: Framework; Exploration; Exercises; Follow-up; Suggested Texts; and Further Reading, addressing the learner throughout, but also providing Teaching Tips which give specific notes for teachers.
The Shakespeare Workbook and Video provides a unifying approach to acting Shakespeare that is immediately applicable in the rehearsal room or classroom. It is an easy-to-use text providing practical exercises in specific aspects of Shakespeare's language such as meter, imagery, rhetoric and sound play. In each of these areas, it takes the reader through three steps: Speak the Text, Question the Text and Act the Text. Online video material provides an insight into the acting process and shows the authors teaching a workshop in their method for acting Shakespeare to a group of young actors. The Shakespeare Workbook and Video is the go-to textbook for a practical exploration of Shakespeare's canon.
This field guide to oral history in Latin America addresses methodological, ethical, and interpretive issues arising from the region’s unique milieu. With careful consideration of the challenges of working in Latin America – including those of language, culture, performance, translation, and political instability – David Carey Jr. provides guidance for those conducting oral history research in the postcolonial world. In regions such as Latin America, where nations that have been subjected to violent colonial and neocolonial forces continue to strive for just and peaceful societies, decolonizing research and analysis is imperative. Carey deploys case studies and examples in ways that will resonate with anyone who is interested in oral history.
The story of Steve Schwarzman, Blackstone, and a financial revolution, King of Capital is the greatest untold success story on Wall Street. In King of Capital, David Carey and John Morris show how Blackstone (and other private equity firms) transformed themselves from gamblers, hostile-takeover artists, and ‘barbarians at the gate’ into disciplined, risk-conscious investors while the financial establishment—banks and investment bankers such as Citigroup, Bear Stearns, Lehman, UBS, Goldman Sachs, Merrill Lynch, Morgan Stanley—were recklessly assuming risks, leveraging up to astronomical levels and driving the economy to the brink of disaster. Now, not only have Blackstone and a small coterie of competitors wrested control of corporations around the globe, but they have emerged as a major force on Wall Street, challenging the likes of Goldman Sachs and Morgan Stanley for dominance. Insightful and hard-hitting, filled with never-before-revealed details about the workings of a heretofore secretive company that was the personal fiefdom of Schwarzman and Peter Peterson, King of Capital shows how Blackstone and private equity will drive the economy and provide a model for how financing will work in the years to come.
Refreshing and imaginative, this book teaches through enhanced awareness, and instructs through clear and specific exercises" Cicely Berry This practical workbook with video helps actors to fully develop expressive voice skills to communicate thoughts and feelings with precision and power. At the heart of the book are practical projects, with examples supplied in the accompanying online videos, which enables you to: - connect your breath with your voice - meet the demands of your performance - use your voice expressively with pitch and range Each chapter consists of an introductory Framework; Explorations; Exercises; Follow Up work; Suggested Texts; and Further Reading: a unique, student-centred approach not found in other voice books. The Vocal Arts Workbook + Video is a complete learning programme drawing on the work of a wide range of practitioners to be used at home, as a course text, or as a way to integrate 20-30 minutes of voice work into an acting class. The online videos contain: 85 mins of footage and 38 physical exercises.
Populated by curanderos, midwives, bonesetters, witches, doctors, nurses, and the indigenous people they served, this nuanced history demonstrates how cultural and political history, misogyny, racism, and racialization influence public health. In the first half of the twentieth century, the governments of Ecuador and Guatemala sought to spread scientific medicine to their populaces, working to prevent and treat malaria, typhus, and typhoid; to boost infant and maternal well-being; and to improve overall health. Drawing on extensive, original archival research, David Carey Jr. shows that highland indigenous populations in the two countries tended to embrace a syncretic approach to health, combining traditional and new practices. At times, both governments encouraged—or at least allowed—such a synthesis: even what they saw as "nonscientific" care was better than none. Yet both, especially Guatemala's, also wrote off indigenous lifeways and practices with both explicit and implicit racism, going so far as to criminalize native medical providers and to experiment on indigenous people without their consent. Both nations had authoritarian rule, but Guatemala's was outright dictatorial, tending to treat both women and indigenous people as subjects to be controlled and policed. Ecuador, on the other hand, advanced a more pluralistic vision of national unity, and had somewhat better outcomes as a result.
In the early to mid-twentieth century, the governments of Ecuador and Guatemala sought to expand Western medicine within their countries, with the goals of addressing endemic diseases and improving infant and maternal health. These efforts often clashed with indigenous medical practices, particularly in the rural highlands. Drawing on extensive, original archival research, historian David Carey Jr. shows that indigenous populations embraced a syncretic approach to health, combining traditional and new practices. At times, the governments of both nations encouraged--or at least allowed--such a synthesis, yet they also attacked indigenous lifeways, going so far as to criminalize native medical practitioners and to conduct medical experiments on indigenous people without consent. Health in the Highlands traces the experiences of curanderos, midwives, bonesetters, witches, doctors, and nurses--and the indigenous people they served. Carey interrogates the relationship between 'progressive' public health policy and indigenous well-being, offering lessons from the past that remain relevant in the present. Our best way forward, this history suggests, may be a compassionate syncretism that joins indigenous approaches to healing with science and a pursuit of environmental and social justice"--
Given Guatemala’s record of human rights abuses, its legal system has often been portrayed as illegitimate and anemic. I Ask for Justice challenges that perception by demonstrating that even though the legal system was not always just, rural Guatemalans considered it a legitimate arbiter of their grievances and an important tool for advancing their agendas. As both a mirror and an instrument of the state, the judicial system simultaneously illuminates the limits of state rule and the state’s ability to co-opt Guatemalans by hearing their voices in court. Against the backdrop of two of Latin America’s most oppressive regimes—the dictatorships of Manuel Estrada Cabrera (1898–1920) and General Jorge Ubico (1931–1944)—David Carey Jr. explores the ways in which indigenous people, women, and the poor used Guatemala’s legal system to manipulate the boundaries between legality and criminality. Using court records that are surprisingly rich in Maya women’s voices, he analyzes how bootleggers, cross-dressers, and other litigants crafted their narratives to defend their human rights. Revealing how nuances of power, gender, ethnicity, class, and morality were constructed and contested, this history of crime and criminality demonstrates how Maya men and women attempted to improve their socioeconomic positions and to press for their rights with strategies that ranged from the pursuit of illicit activities to the deployment of the legal system.
No one noticed anything suspicious about the death of a wounded soldier at the height of the Civil War—not, that is, until almost a hundred years later. In 1957, young Washington, D.C., police sergeant Ben Carey heads up a team of officers in a dilapidated house three blocks from the Capitol. Though Carey’s career is on the rise, his marriage is circling the drain, and as he spends more time at the office, he discovers there is something not quite right about this decaying old home. It harbors some dark secrets—connecting him to the long-dead soldier and others in ways he can't understand. With his personal life in shambles, and forces from within the house vying for his attention, Carey casts reason aside and begins an investigation to uncover the truth about what happened in this haunted place. As he peels back the layers of history, he finds courage and love, but also deception, greed, jealousy, and murder. Twisting through time—between an America torn by Civil War and the prosperous 1950s—Murder Bay is a mystery that spans eras and the gulf dividing what can and cannot be explained. “The impressive first in a historical series, which effortlessly alternates between Washington, D.C., in 1862 and the same city 95 years later...this debut shows definite promise.” —Publishers Weekly “Very nicely done....Recommended.” —Library Journal “An involving, period-perfect story. The action is fast-paced and convincing...the characters are expertly drawn.” —ForeWord
Bert Williams—a Black man forced to perform in blackface who challenged the stereotypes of minstrelsy. Eva Tanguay—an entertainer with the signature song “I Don’t Care” who flouted the rules of propriety to redefine womanhood for the modern age. Julian Eltinge—a female impersonator who entranced and unnerved audiences by embodying the feminine ideal Tanguay rejected. At the turn of the twentieth century, they became three of the most provocative and popular performers in vaudeville, the form in which American mass entertainment first took shape. A Revolution in Three Acts explores how these vaudeville stars defied the standards of their time to change how their audiences thought about what it meant to be American, to be Black, to be a woman or a man. The writer David Hajdu and the artist John Carey collaborate in this work of graphic nonfiction, crafting powerful portrayals of Williams, Tanguay, and Eltinge to show how they transformed American culture. Hand-drawn images give vivid visual form to the lives and work of the book’s subjects and their world. This book is at once a deft telling of three intricately entwined stories, a lush evocation of a performance milieu with unabashed entertainment value, and an eye-opening account of a key moment in American cultural history with striking parallels to present-day questions of race, gender, and sexual identity.
Given Guatemala's record of human rights abuses, its legal system has often been portrayed as illegitimate and anemic. I Ask for Justice challenges that perception by demonstrating that even though the legal system was not always just, rural Guatemalans considered it a legitimate arbiter of their grievances and an important tool for advancing their agendas. As both a mirror and an instrument of the state, the judicial system simultaneously illuminates the limits of state rule and the state's ability to co-opt Guatemalans by hearing their voices in court. Against the backdrop of two of Latin America's most oppressive regimes--the dictatorships of Manuel Estrada Cabrera (1898-1920) and General Jorge Ubico (1931-1944)--David Carey Jr. explores the ways in which indigenous people, women, and the poor used Guatemala's legal system to manipulate the boundaries between legality and criminality. Using court records that are surprisingly rich in Maya women's voices, he analyzes how bootleggers, cross-dressers, and other litigants crafted their narratives to defend their human rights. Revealing how nuances of power, gender, ethnicity, class, and morality were constructed and contested, this history of crime and criminality demonstrates how Maya men and women attempted to improve their socioeconomic positions and to press for their rights with strategies that ranged from the pursuit of illicit activities to the deployment of the legal system.
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