Stagecraft by 
Stagecraft Fundamentals by 
The Stagecraft and Performance of Roman Comedy by 
Stagecraft Handbook by This manual covers every aspect of scenery c onstruction, with information on shop organisation, tools, s afety, scaled drawings and materials as well as construction techniques. A wealth of illustrations help show how to make quick, inexpensive scenery. '
Shakespeare's Stagecraft by For many years, critics and students of Shakespeare have tended to stress that his plays are poetic structures embodying 'themes', and these structures have been analysed in great detail. Professor Styan advocates another approach. The plays were written for acting, in a theatre of a particular type. If we ask what effects this kind of theatre encouraged and how Shakespeare exploited them, the plays are seen as a sequence of stage-effects, planned with great art so as to enrich, reinforce and modify each other. Professor Styan begins with the known facts about the Elizabethan theatre, stressing the effect of the size of the apron stage, and the degree in which the spectators situated all around are involved in the action. It was a theatre of movement and grouping, and above all speech. Shakespeare's verse is full of suggestions about how it is to be delivered; it is, in Professor Styan's word, 'gestic'. Professor Styan shows in very many examples, quoting the text and examining its dramatic implications, what the words suggest about movement over the stage, about the relationship between groups of players on the stage, and about the delivery and dramatic effect of the words themselves. Thus we build up a new sense of the whole play. This is a convenient and comprehensive introduction to the study of Shakespeare's dramatic craftsmanship, which also reopens that direction of enquiry which Granville-Barker first explored.
Shakespeare's Theatre by Under an alphabetical list of relevant terms, names and concepts, this text reviews knowledge of the character and operation of theatres in Shakespeare's time, with an explanation of their origins. It consolidates the author's 40 years of experience in studying and staging Shakespeare's plays. Coverage includes the practices of Elizabethan actors and script writers: methods of characterization; gesture, blocking and choreography, including music, dance and fighting; actors' rhetorical interaction with audiences; and use of costumes, stage props and make-up. The author makes use of scripts and scholarship about original stagings of Shakespeare and suggests how those productions related to modern staging. Much of this material has developed as a result of the recent increased interest in the significance of performance for interpreting Shakespeare, including the recovery of the archaeological evidence about the original Rose and Globe Theatres. The book contains bibliographies for each topic and consolidates these in an overall bibliography for Shakespeare and his theatres.
The Commercial Theater Institute Guide to Producing Plays and Musicals by 
Running Theaters by 