{"product_id":"contemporary-scenes-for-student-actorsisbn-9780140481533","title":"Contemporary Scenes for Student Actors","description":"This collection of contemporary scenes provides the student actor, as well as professional and untrained performers, with material from some of the best plays ever written. Each selection contains critical information on characters, setting, and background to give a clear sense of what the play is about. \u003ci\u003eContemporary Scenes for Student Actors\u003c\/i\u003e accommodates a wide variety of acting styles, from naturalistic to poetic to highly stylized, spanning a range of ages and a variety of locales, and incorporating excerpts of various lengths.\u003cbr\u003e \u003cbr\u003e Includes scenes from plays by\u003cbr\u003e · Woody Allen\u003cbr\u003e · Maxwell Anderson\u003cbr\u003e · Jean Anouilh\u003cbr\u003e · Simon Gray\u003cbr\u003e · John Guare\u003cbr\u003e · Lillian Hellman\u003cbr\u003e · Albert Innaurato\u003cbr\u003e · David Mamet\u003cbr\u003e · Mark Medoff\u003cbr\u003e · Arthur Miller\u003cbr\u003e · Miguel Pinero\u003cbr\u003e · David Rabe\u003cbr\u003e · Sam Shepard\u003cbr\u003e · Tennessee Williams\u003cbr\u003e · And many more!Acknowledgments\u003cbr\u003ePreface\u003cbr\u003eHow to Approach a Scene\u003cbr\u003e\u003cb\u003ePart I: Scenes for One Man and One Woman\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eLovers and Other Strangers\u003c\/i\u003e by Renee Taylor and Joseph Bologna\u003cbr\u003e\u003ci\u003eA Streetcar Named Desire\u003c\/i\u003e by Tennessee Williams\u003cbr\u003e\u003ci\u003eTwo for the Seesaw\u003c\/i\u003e by William Gibson\u003cbr\u003e\u003ci\u003eGemini\u003c\/i\u003e by Albert Innaurato\u003cbr\u003e\u003ci\u003eI Never Sang for My Father\u003c\/i\u003e by Robert Anderson\u003cbr\u003e\u003ci\u003eSexual Perversity in Chicago\u003c\/i\u003e by David Mamet\u003cbr\u003e\u003ci\u003eThe Lion in Winter\u003c\/i\u003e by James Goldman\u003cbr\u003e\u003ci\u003eThe Crucible\u003c\/i\u003e by Arthur Miller\u003cbr\u003e\u003ci\u003eThe Owl and the Pussycat\u003c\/i\u003e by Bill Manhoff\u003cbr\u003e\u003ci\u003eSame Time, Next Year\u003c\/i\u003e by Bernard Slade\u003cbr\u003e\u003ci\u003eKingdom of Earth\u003c\/i\u003e by Tennessee Williams\u003cbr\u003e\u003ci\u003eThieves\u003c\/i\u003e by Herb Gardner\u003cbr\u003e\u003ci\u003eOtherwise Engaged\u003c\/i\u003e by Simon Gray\u003cbr\u003e\u003ci\u003eGolden Boy\u003c\/i\u003e by Clifford Odets\u003cbr\u003e\u003ci\u003eThe Great White Hope\u003c\/i\u003e by Howard Sackler\u003cbr\u003e\u003ci\u003eA Cry of Players\u003c\/i\u003e by William Gibson\u003cbr\u003e\u003ci\u003eButterflies Are Free\u003c\/i\u003e by Leonard Gershe\u003cbr\u003e\u003ci\u003eThe Dark at the Top of the Stairs\u003c\/i\u003e by William Inge\u003cbr\u003e\u003ci\u003eThe Tenth Man\u003c\/i\u003e by Paddy Chayefsky\u003cbr\u003e\u003ci\u003eWhen You Comin' Back, Red Ryder?\u003c\/i\u003e by Mark Medoff\u003cbr\u003e\u003ci\u003e27 Wagons Full of Cotton\u003c\/i\u003e by Tennessee Williams\u003cbr\u003e\u003ci\u003eHello Out There\u003c\/i\u003e by William Saroyan\u003cbr\u003e\u003ci\u003eThe House of Blue Leaves\u003c\/i\u003e by John Guare\u003cbr\u003e\u003ci\u003eThe Sea Horse\u003c\/i\u003e by Edward J. Moore\u003cbr\u003e\u003ci\u003eSerenading Louie\u003c\/i\u003e by Lanford Wilson\u003cbr\u003e\u003ci\u003eThe Trip Back Down\u003c\/i\u003e by John Bishop\u003cbr\u003e\u003ci\u003eMoony's Kid Don't Cry\u003c\/i\u003e by Tennessee Williams\u003cbr\u003e\u003ci\u003e6 RMS RIV VU\u003c\/i\u003e by Bob Randall\u003cbr\u003e\u003ci\u003eDirty Hands\u003c\/i\u003e by Jean-Paul Sartre, translated by Lionel Abel\u003cbr\u003e\u003ci\u003eThe Goodbye People\u003c\/i\u003e by Herb Gardner\u003cbr\u003e\u003ci\u003eYou Know I Can't Hear You When the Water's Running\u003c\/i\u003e by Robert Anderson\u003cbr\u003e\u003ci\u003eDays of Wine and Roses\u003c\/i\u003e by J. P. Miller\u003cbr\u003e\u003ci\u003eDid You Ever Go to P.S. 43?\u003c\/i\u003e by Michael Schulman\u003cbr\u003e\u003ci\u003eThe Only Game in Town\u003c\/i\u003e by Frank D. Gilroy\u003cbr\u003e\u003ci\u003eThe Subject Was Roses\u003c\/i\u003e by Frank D. Gilroy\u003cbr\u003e\u003ci\u003eAt Home\u003c\/i\u003e by Conrad Bromberg\u003cbr\u003e\u003ci\u003eThe Tiger\u003c\/i\u003e by Murray Schisgal\u003cbr\u003e\u003ci\u003eLou Gehrig Did Not Die of Cancer\u003c\/i\u003e by Jason Miller\u003cbr\u003e\u003cb\u003ePart Two: Scenes for Two Women\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eIn the Boom Boom Room\u003c\/i\u003e by David Rabe\u003cbr\u003e\u003ci\u003eHello from Bertha\u003c\/i\u003e by Tennessee Williams\u003cbr\u003e\u003ci\u003eThe Miracle Worker\u003c\/i\u003e by William Gibson\u003cbr\u003e\u003ci\u003eThe Killing of Sister George\u003c\/i\u003e by Frank Marcus\u003cbr\u003e\u003ci\u003eAntigone\u003c\/i\u003e by Jean Anouilh, adapted by Lewis Galantiere\u003cbr\u003e\u003ci\u003eThe Children's Hour\u003c\/i\u003e by Lilian Hellman\u003cbr\u003e\u003ci\u003eCurse of the Starving Class\u003c\/i\u003e by Sam Shepard\u003cbr\u003e\u003ci\u003eMoonchildren\u003c\/i\u003e by Michael Weller\u003cbr\u003e\u003ci\u003eFather's Day\u003c\/i\u003e by Oliver Hailey\u003cbr\u003e\u003ci\u003eThe Days and Nights of Beebee Fenstermaker\u003c\/i\u003e by William Snyder\u003cbr\u003e\u003ci\u003eThe Bad Seed\u003c\/i\u003e by Maxwell Anderson\u003cbr\u003e\u003ci\u003eNo Exit\u003c\/i\u003e by Jean-Paul Sartre, translated by Stuart Gilbert\u003cbr\u003e\u003ci\u003eLadies at the Alamo\u003c\/i\u003e by Paul Zindel\u003cbr\u003e\u003ci\u003eThe Girl on the Via Flaminia\u003c\/i\u003e by Alfred Hayes\u003cbr\u003e\u003ci\u003eThe Gingham Dog\u003c\/i\u003e by Lanford Wilson\u003cbr\u003e\u003ci\u003ePatio\/Porch\u003c\/i\u003e by Jack Heifner\u003cbr\u003e\u003ci\u003eAnd Miss Reardon Drinks a Little\u003c\/i\u003e by Paul Zindel\u003cbr\u003e\u003cb\u003ePart Three: Scenes for Two Men\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eAmerican Buffalo\u003c\/i\u003e by David Mamet\u003cbr\u003e\u003ci\u003eA View from the Bridge\u003c\/i\u003e by Arthur Miller\u003cbr\u003e\u003ci\u003eEquus\u003c\/i\u003e by Peter Shaffer\u003cbr\u003e\u003ci\u003eThe Basic Training of Pavlo Hummel\u003c\/i\u003e by David Rabe\u003cbr\u003e\u003ci\u003ePlay It Again, Sam\u003c\/i\u003e by Woody Allen\u003cbr\u003e\u003ci\u003eCat on a Hot Tin Roof\u003c\/i\u003e by Tennessee Williams\u003cbr\u003e\u003ci\u003eButley\u003c\/i\u003e by Simon Gray\u003cbr\u003e\u003ci\u003eA Man for All Seasons\u003c\/i\u003e by Robert Bolt\u003cbr\u003e\u003ci\u003eOne Flew over the Cuckoo's Nest\u003c\/i\u003e by Dale Wasserman\u003cbr\u003e\u003ci\u003eShort Eyes\u003c\/i\u003e by Miguel Piñero\u003cbr\u003e\u003ci\u003eLuv\u003c\/i\u003e by Murray Schisgal\u003cbr\u003e\u003ci\u003eA Thousand Clowns\u003c\/i\u003e by Herb Gardner\u003cbr\u003e\u003ci\u003eBecket (or The Honour of God)\u003c\/i\u003e by Jean Anouilh, translated by Lucienne Hill\u003cbr\u003e\u003ci\u003eStreamers\u003c\/i\u003e by David Rabe\u003cbr\u003e\u003ci\u003eDoes a Tiger Wear a Necktie?\u003c\/i\u003e by Don Petersen\u003cbr\u003e\u003ci\u003eA Hatful of Rain\u003c\/i\u003e by Michael V. Gazzo\u003cbr\u003e\u003ci\u003eThe Boys in the Band\u003c\/i\u003e by Mart Crowley\u003cbr\u003e\u003ci\u003eThe Sign in Sidney Brustein's Window\u003c\/i\u003e by Lorraine Hansberry\u003cbr\u003e\u003ci\u003eInherit the Wind\u003c\/i\u003e by Jerome Lawrence and Robert E. Lee\u003cbr\u003e\u003ci\u003eThe Wager\u003c\/i\u003e by Mark Medoff\u003cbr\u003e\u003ci\u003eHogan's Goat\u003c\/i\u003e by William Alfred\u003cbr\u003e\u003ci\u003eKnock Knock\u003c\/i\u003e by Jules Feiffer\u003cbr\u003e\u003ci\u003eCount Dracula\u003c\/i\u003e by Ted Tiller\u003cbr\u003e\u003ci\u003eThe Creation of the World and Other Business\u003c\/i\u003e by Arthur Miller\u003cbr\u003e\u003ci\u003eFamily Business\u003c\/i\u003e by Dick Goldberg\u003cbr\u003e\u003ci\u003eThe Private Ear\u003c\/i\u003e by Peter Shaffer\u003cbr\u003e\u003ci\u003eDeathtrap\u003c\/i\u003e by Ira Levin\u003cbr\u003eIndexHaving taught acting at the Lee Strasberg Theatre Institute and at The Actors Studio, \u003cb\u003eMichael Schulman\u003c\/b\u003e now teaches at his own workshop in New York City. He has also written and directed a number of plays for Off and Off-Off Broadway theatre. He is director of The British-American Acting Academy, a school with braches in New York and London, dedicated to the synthesis of the best of British and American acting techniques. He is also chairman of the theatre department of The Usdan Center for the Creative and Performing Arts. In addition to his theatrical career, he is a clinical and research psychologist who has held assistant professorship at Fordham and Rutgers universities. His PhD is from the City University of New York.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eEva Mekler\u003c\/b\u003e is both a playwright and a former actress who has performed on and off Broadway. Trained in psychology, with a master’s degree from New York University, she divides her time between her work as a clinician and writing. She is also the editor of \u003ci\u003eThe New Generation of Acting Teachers\u003c\/i\u003e.","brand":"Penguin Books","offers":[{"title":"Default Title","offer_id":46304708034789,"sku":"NP9780140481533","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780140481532_800cfca7-ecfc-411e-8b6f-7a482e79392f.jpg?v=1730758189","url":"https:\/\/k12savings.com\/products\/contemporary-scenes-for-student-actorsisbn-9780140481533","provider":"K12savings","version":"1.0","type":"link"}