This is the first book of its kind to provide an in-depth examination of how the greatest playwright in the English language employed not only psychological brutality but also physical violence throughout his works. My Cue to Fight is the first book of its kind to provide an in-depth examination of how the greatest playwright in the English language employed not only psychological brutality but also physical violence throughout his works. Written ideally for theatrical stage directors, fight directors, intimacy consultants, and actors as a technical scene-by-scene breakdown in staging combat during production of these plays, this publication is also for Shakespeare enthusiasts who want to learn more about the blood, sweat, and viscera hidden just underneath the poetry. A writer utilizes violence, like song or dance, in moments where the story requires more than just words. But addressing how the violence will be staged tends either to be neglected or utterly gratuitous, both of which serve to separate the audience from the story and kill the whole venture. The answer rests in approaching violence the same way we do scenework. The plays of William Shakespeare seek to engage audiences with all of the characters’ blood, tears, sweat, and guts. These works are not flowery poems meant to be mumbled in a classroom, or histrionically declaimed in frilly costumes. There is nothing light and fluffy about 'rape' and 'murder’s rages', or 'carving' someone as a dish fit for the gods, or fighting till from one’s bones one’s 'flesh be hacked'. Making matters more complicated is the ambiguity and sometimes even complete lack of stage directions. Modern texts typically possess clear directions whenever violence is to occur in the action, but playscripts were quite different four centuries ago. Such denotations were both rare and inconsistent in Elizabethan and Jacobean printings. The potential violence we will examine is not appropriate for all productions or scene partners. We’re here to question and inspire rather than provide catch-all solutions. Actors, directors, fight directors, and intimacy consultants must work together to find the most effective way for their production to communicate the playwright’s story to the audience.
Greenfield's Neuropathology, the worlds leading neuropathology reference, provides an authoritative, comprehensive account of the pathological findings in neurological disease, their biological basis and their clinical manifestations. This account is underpinned throughout by a clear description of the molecular and cellular processes and reactions that are relevant to the development, and normal and abnormal functioning of, the nervous system. While this scientific content is of paramount importance, however, care has been taken to ensure that the information is presented in a way that is accessible to readers working within a range of disciplines in the clinical neurosciences, and that also places the neuropathological findings within the context of a broader diagnostic process. The new eighth edition incorporates much new information, new illustrations and many new authors, while retaining the depth, breadth and quality of content so praised in previous editions. Each chapter opens with an introductory section designed to offer an integrated approach to diagnosis, taking account of clinical manifestations, neuroradiological and laboratory findings as well as the neuropathological and molecular genetic features of the diseases being considered. Strong emphasis has been placed on facilitating the retrieval of neuropathological information by non-neuropathologists grapping with differential diagnoses or seeking information on broad categories of neurological disease, and boxes and tables are used to present important symptoms and signs, patterns of disease and other features for ease of reference. High quality line and photographic illustrations, the majority in full colour, are all available on a companion CD, to complete the offering.
This major reference works brings together the current state of the art for joint preservation surgery of the knee, including arthroscopic and open procedures. Generously illustrated with radiographs and intraoperative photos, it presents the latest tips and techniques, providing the knee surgeon with the most up-to-date information for precise preparation and decision-making in this rapidly evolving area. This comprehensive guide is divided into ten thematic sections covering clinical evaluation; fundamentals of arthroscopic and open approaches; basic and advanced arthroscopic procedures; surgical management of meniscal disorders; management of ACL injuries; approaches to complex and multi-ligamentous injuries; limb malalignment; management of cartilage and subchondral bone; patellofemoral and extensor mechanism disorders; and rehabilitation and return to play considerations. Written by experts in the field, Knee Arthroscopy and Knee Preservation Surgery will be a highly valued resource for orthopedic and sports medicine surgeons, residents and fellows.
This is the first book of its kind to provide an in-depth examination of how the greatest playwright in the English language employed not only psychological brutality but also physical violence throughout his works. My Cue to Fight is the first book of its kind to provide an in-depth examination of how the greatest playwright in the English language employed not only psychological brutality but also physical violence throughout his works. Written ideally for theatrical stage directors, fight directors, intimacy consultants, and actors as a technical scene-by-scene breakdown in staging combat during production of these plays, this publication is also for Shakespeare enthusiasts who want to learn more about the blood, sweat, and viscera hidden just underneath the poetry. A writer utilizes violence, like song or dance, in moments where the story requires more than just words. But addressing how the violence will be staged tends either to be neglected or utterly gratuitous, both of which serve to separate the audience from the story and kill the whole venture. The answer rests in approaching violence the same way we do scenework. The plays of William Shakespeare seek to engage audiences with all of the characters’ blood, tears, sweat, and guts. These works are not flowery poems meant to be mumbled in a classroom, or histrionically declaimed in frilly costumes. There is nothing light and fluffy about 'rape' and 'murder’s rages', or 'carving' someone as a dish fit for the gods, or fighting till from one’s bones one’s 'flesh be hacked'. Making matters more complicated is the ambiguity and sometimes even complete lack of stage directions. Modern texts typically possess clear directions whenever violence is to occur in the action, but playscripts were quite different four centuries ago. Such denotations were both rare and inconsistent in Elizabethan and Jacobean printings. The potential violence we will examine is not appropriate for all productions or scene partners. We’re here to question and inspire rather than provide catch-all solutions. Actors, directors, fight directors, and intimacy consultants must work together to find the most effective way for their production to communicate the playwright’s story to the audience.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.