My mother, Ruth Blumenfeld, née Korn, was born on January 15, 1915; and died on August 18, 2015, aged one hundred years, seven months, and three days. My father, Max David Blumenfeld, was born on February 25, 1911 and died on December 26, 1994, about two months shy of his eighty-fourth birthday... I love my parents so much and I don’t want them to be forgotten, which is why I am writing this book. And I am writing this memoir for myself as much as for anyone else, because in doing so I bring my parents back to life in my memory. I do the same when it comes to my grandparents and aunts and uncles. I write also for my family members, who may wish to know more about our background. And I am writing for the general public, who may find this memoir of interest as being the embodiment in specific people of the history of the twentieth and early twenty-first centuries in the United States... When my father was born, World War One was several years away, and when my mother was born, World War One was raging. They lived through the Roaring Twenties and Prohibition, the Great Depression, and World War Two, and the subsequent wars... They lived through the rise and fall of the Soviet Union. The technological changes in their lifetime were the greatest in human history, from the evolution and ubiquity of the telephone, and of electricity and electric lighting, to airplane travel and the proliferation of the automobile, the invention and spread of radio and television, and the invention of such conveniences as frozen orange juice, the electric clothes drier, and the electric dishwasher, and, later on, of the internet, the computer and the smartphone, and of so much more... The world was a better place because Mom and Dad were in it. They did much political and social good in their time because they cared, and they wanted to help create a kinder, better, more loving world for everyone, a world where the ideals of equality and justice for all would at least begin to be fulfilled. When people like them disappear from the earth, the world is a poorer place.
The first complete entertainment dictionary to be published, this work contains entries on acting in film, professionalism in acting, verse technique, and more. An invaluable index of subjects by category covers 17 topics, including lighting, commercials, contracts, drama, professional organizations, the media, and theater.
Suitable for professional and student actors, and for acting teachers, this book explains how to create a character in plays of various period, using the Stanislavsky system. It also covers the way men and women moved, stood, and sat in the clothing they wore; and, the use of accessories such as fans, swords, snuffboxes, gloves, and hats.
Have you heard of the first American musical, "The Black Crook", which opened in 1866 and had fifteen revivals? Its chorus of ladies in pink tights was a sensation! Do you know Oscar Straus' hilarious parody of Wagner's Ring cycle, "Die lustigen Nibelungen" ("The Merry Nibelungs")? Do you know who the Ricci brothers, the Piccinni family, Edmond Audran, David Braham, or Francois-Joseph Gossec were? Look them up in this remarkable, thoroughly researched, lively book. Packed with nuggets of useful and fascinating information, with nearly 1,800 entries, this is a must-have research tool and handy reference for the theater and music lover, student, teacher, professional singer, director, and producer. Meant as a supplement and companion to Blumenfeld's "Dictionary of Acting and Show Business" (Limelight, 2009), this unique dictionary is chock-full of information about all the various genres of musical theater; thumbnail plot summaries of many well-known and some more obscure works; thumbnail biographies of composers and writers; and, dance, theatrical, and music terminology. Historical terms and foreign terms (with pronunciations) are included, along with information on available recordings of many obscure pieces. Convenient lists of the works of Verdi, Puccini, Wagner, Gilbert and Sullivan, Sondheim, Rodgers and Hammerstein, and many others are provided.
(Limelight). This practical reference manual, with its precise, authentic instructions on how to speak in more than 100 dialects, has established itself as the most useful and comprehensive guide to accents available, now increased by a third in this revised printing. As before, the accents range from regional U.S. and British dialects to European accents that include, among others, the Germanic, Slavic and Romance Languages. Completing his around-the-world journey, the author then covers the Middle East, Africa and Asia. Online audio is accessed at halleonard.com/mylibrary
(Limelight). Are you doing a play by Tennessee Williams? Or one of David Mamet's plays set in Chicago? Need to learn a Southern or Boston or New York or Caribbean Islands accent quickly, or do you have plenty of time? Then Teach Yourself Accents North America: A Handbook for Young Actors and Speakers is for you: an easy-to-use manual full of clear, cogent advice and fascinating information. Contemporary monologues and scenes for two are included, and audio tracks feature extensive practice exercises. Perfect for the young acting student, the book will help anyone beginning a study of accents to get a rapid handle on the subject and use any accent immediately, with an authentic sound. More experienced actors who need an authoritative quick guide for an audition or for role preparation will find it equally useful, as will speakers who want to improve a specific accent or liven up a presentation with an apt anecdote. This second volume of the new Teach Yourself Accents series by Robert Blumenfeld, author of the best-selling Accents: A Manual for Actors , covers General American, the most widely used accent of Standard American English, as well as Northern and Southern regional accents, AAVE (African-American Vernacular English), Hispanic, Caribbean Islands, and Canadian English and French accents.
(Limelight). A must for both the aspiring and seasoned artist. Uniquely geared to the work of theatre and film artists, this book, for the first time, sets out clearly and concisely the ideas, principles, and character typology of various psychological schools from Freudian, Kleinian, and Jungian to contemporary developments. The practical uses and applications of their theories are graphically demonstrated throughout the book by means of numerous examples and in-depth analyses drawn from classic and contemporary theatrical and cinematic literature. Stanislavskian methods are also discussed. An immensely useful, essential tool for character creation and analysis. Features a foreword by noted acting teacher Alice Spivak.
This practical book on the subject of how to act, based on Ms. Spivaks 40 years of acting, coaching, and teaching classes provides a step-by-step system for analyzing and building a character organically. It also advises how to do camera takes, interpret and follow stage directions, and how to prepare for auditions and work in theater, film, and television.
The grim tale dramatized in these pages, while it may strain credibility, is undeniably and unfortunately true. Its horrible events took place in 1818 in one of the most unlikely settings for such a saga on the face of the earth: the picturesque French provincial village of Morève in the Loiret département on the post road one hundred and thirty-five kilometers southwest of Paris, and its surrounding countryside: a complacent, prosperous backwater of tenant farms, orchards, and vineyards. As any of the populace would have been happy to tell you, this is a place where “nothing ever happens, thank goodness”; that is, nothing until suddenly people start disappearing, and bodies are discovered of people and animals who appear to have been murdered by vampires, throwing the district into fear and panic. At this point, Raoul Champfleury returns from Boston, where his aristocratic family had fled during the French Revolution, to his ancestral chateau of Morève—successfully reclaimed by the family under the Bourbon Restoration—for a prolonged visit with his mother, Dowager Countess Régine-Rosemonde, and his destructive brother and sister-in-law, the tyrannical Count and Countess of Morève, religious fanatics pursuing their futile but abusive efforts to convert the dowager countess from her entrenched atheism. Raoul is accompanied by his lifelong friend, Christophe Béranger, whose family had fled Morève with the Champfleurys. Before they know it, they are caught up together with the town’s mayor, lawyer Maître Littré, and the village’s one policeman, the intelligent and resourceful Pierre Dupont, in trying to solve the mysteries. What they discover horrifies them beyond words.
The Count of Sainte-Hélène, or The Lure of Infamy is a historical novel full of intrigue, mystery, romance, and colorful characters that begins in the year 1816. Napoleon has been defeated and the Bourbons restored to the throne of France. The Count of Sainte-Hélène, an intimate friend of the king, is Lieutenant-Colonel of the Legion of the Seine, the regiment charged with the security of Paris and the royal family. When the capital is rocked by a series of spectacular burglaries targeting the homes of the aristocracy, the brilliant ex-convict-turned-detective Vidocq, chief of the Police Security Brigade, is unable to solve the crimes. But a series of events leads him to suspect that Saint-Hélène himself is somehow involved. In accusing such a highly placed aristocrat, Vidocq may have made the biggest blunder of his career...
(Limelight). Do you need to learn an English or Irish accent quickly, or do you have plenty of time? Either way, Teach Yourself Accents The British Isles: A Handbook for Young Actors and Speakers is for you: an easy-to-use manual full of clear, cogent advice and fascinating information. Contemporary monologues and scenes for two are included, and audio tracks feature extensive practice exercises. Perfect for the young acting student, the book will help anyone beginning a study of accents to get a rapid handle on the subject and use any accent immediately, with an authentic sound. More experienced actors who need an authoritative quick guide for an audition or for role preparation will find it equally useful, as will speakers who want to improve a specific accent or liven up a presentation with an apt anecdote. This first volume of the new Teach Yourself Accents series by Robert Blumenfeld, author of the best-selling Accents: A Manual for Actors , covers upper- and middle-class English accents (British Received Pronunciation), London accents, and English provincial accents (Midlands and Yorkshire), as well as Welsh, Scottish, and several Irish accents. Train your ears to hear, and your vocal muscles to respond, and you can do any accent!
(Limelight). The third volume in dialect coach Robert Blumenfeld's new series on accents, Teach Yourself Accents: Europe, A Handbook for Young Actors and Speakers covers the European accents most useful for the stage and screen: French, German, Italian, Russian, Spanish, Swedish, and Yiddish. The most important features of each accent are detailed, enabling the actor to begin immediately to sound authentic, and Mr. Blumenfeld's unique approach makes the accents easily comprehensible. The incisive, succinct introduction to studying any accent is useful above and beyond the specific details of the accents covered here. The book provides a wealth of references to films where the reader can listen to authentic examples of the accents, and information as to what roles require the accents. There are extensive practice exercises, all included in the accompanying audio, as well as a selection of monologues and scenes. All of this makes the book not only a perfect guide for the young acting student but also an authoritative reference for more experienced actors and for speakers of all levels.
Have you heard of the first American musical, "The Black Crook", which opened in 1866 and had fifteen revivals? Its chorus of ladies in pink tights was a sensation! Do you know Oscar Straus' hilarious parody of Wagner's Ring cycle, "Die lustigen Nibelungen" ("The Merry Nibelungs")? Do you know who the Ricci brothers, the Piccinni family, Edmond Audran, David Braham, or Francois-Joseph Gossec were? Look them up in this remarkable, thoroughly researched, lively book. Packed with nuggets of useful and fascinating information, with nearly 1,800 entries, this is a must-have research tool and handy reference for the theater and music lover, student, teacher, professional singer, director, and producer. Meant as a supplement and companion to Blumenfeld's "Dictionary of Acting and Show Business" (Limelight, 2009), this unique dictionary is chock-full of information about all the various genres of musical theater; thumbnail plot summaries of many well-known and some more obscure works; thumbnail biographies of composers and writers; and, dance, theatrical, and music terminology. Historical terms and foreign terms (with pronunciations) are included, along with information on available recordings of many obscure pieces. Convenient lists of the works of Verdi, Puccini, Wagner, Gilbert and Sullivan, Sondheim, Rodgers and Hammerstein, and many others are provided.
The first complete entertainment dictionary to be published, this work contains entries on acting in film, professionalism in acting, verse technique, and more. An invaluable index of subjects by category covers 17 topics, including lighting, commercials, contracts, drama, professional organizations, the media, and theater.
The complete guide to everything you ever wanted to know about Einstein This is the single most complete guide to Albert Einstein's life and work for students, researchers, and browsers alike. Written by three leading Einstein scholars who draw on their combined wealth of expertise gained during their work on the Collected Papers of Albert Einstein, this authoritative and accessible reference features more than one hundred entries and is divided into three parts covering the personal, scientific, and public spheres of Einstein’s life. An Einstein Encyclopedia contains entries on Einstein’s birth and death, family and romantic relationships, honors and awards, educational institutions where he studied and worked, citizenships and immigration to America, hobbies and travels, plus the people he befriended and the history of his archives and the Einstein Papers Project. Entries on Einstein’s scientific theories provide useful background and context, along with details about his assistants, collaborators, and rivals, as well as physics concepts related to his work. Coverage of Einstein’s role in public life includes entries on his Jewish identity, humanitarian and civil rights involvements, political and educational philosophies, religion, and more. Commemorating the hundredth anniversary of the theory of general relativity, An Einstein Encyclopedia also includes a chronology of Einstein’s life and appendixes that provide information for further reading and research, including an annotated list of a selection of Einstein’s publications and a review of selected books about Einstein. More than 100 entries cover the rich details of Einstein’s personal, professional, and public life Authoritative entries explain Einstein’s family relationships, scientific achievements, political activities, religious views, and more More than 40 illustrations include photos of Einstein and his circle plus archival materials A chronology of Einstein’s life, appendixes, and suggestions for further reading provide essential details for further research
This section of Uptown New Orleans gets its name from the various colleges and universities that have existed within its boundaries. Loyola and Tulane are two architecturally diverse universities that line St. Charles Avenue in this historic section. The architecture of this area ranges from the Gothic universities to the grand mansions that also line St. Charles Avenue to the modest shotgun homes and cottages scattered around the perimeter of the section.The New Orleans Architecture Series (see page 21) celebrated its 25th anniversary in 1996. From the beginning, the Friends of the Cabildo have had as their mission to promote history and to establish and protect New Orleans architecture and make it the best documented in the entire United States.
Making a Machine That Sees Like Us explains why and how our visual perceptions can provide us with an accurate representation of the external world. Along the way, it tells the story of a machine (a computational model) built by the authors that solves the computationally difficult problem of seeing the way humans do. This accomplishment required a radical paradigm shift - one that challenged preconceptions about visual perception and tested the limits of human behavior-modeling for practical application. The text balances scientific sophistication and compelling storytelling, making it accessible to both technical and general readers. Online demonstrations and references to the authors' previously published papers detail how the machine was developed and what drove the ideas needed to make it work. The authors contextualize their new theory of shape perception by highlighting criticisms and opposing theories, offering readers a fascinating account not only of their revolutionary results, but of the scientific process that guided the way.
For the Introductin by Robert Holt: Late in July 2011, I had an unexpected call from Arnold D. Richards, an old acquaintance. He asked if I happened to have any unpublished papers on psychoanalysis; if so, he offered to make them available to their most likely audience through International Psychoanalysis. It happened that, for about a year, I had been trying to find a publisher for a collection of letters between David Rapaport and me during his final 12 years (1948-1960). When I mentioned that to Dr. Richards, he at once expressed interest, and at last here we are. How vividly these letters helped me relive twelve years of some of the most intellectually stimulating experiences of my life I felt the obligation to share them with any interested colleagues, especially because Rapaport had been in the most productive years of his psychoanalytic scholarship. Many of our exchanges give an insight into his way of working, of thinking through difficult issues by discussion. Those who knew him well were aware of the many drafts his papers would go through, but few of us were privy to his ways of working ideas out, making them at once more subtle and clearer. The letters also display Rapaport as a critic, a mentor and teacher, as he sent me his critiques of my various attempts, often to follow in his footsteps and at times to branch out on my own. He set the example of close reading, responding empathically as well as unsparingly in pointing out difficulties, lapses in reasoning, omissions of relevant data or of treatments of apposite points in the literature. Though he never succeeded in writing English like one born to it, he was a fine critic of grammatical and rhetorical lapses--as the reader will soon see. I did my best not only to meet his criticism but to learn from it his style and technique of editing and advising, and to apply that learning to the drafts that he sent me.
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