{"product_id":"backwards-forwards-a-technical-manual-for-reading-plays","title":"Backwards \u0026 Forwards: A Technical Manual for Reading Plays","description":"\u003ctable align=\"center\" border=\"0\" cellpadding=\"2\" cellspacing=\"0\" width=\"100%\"\u003e\n\u003ctr\u003e\n\u003ctd class=\"productDetailSmallElements\"\u003e\n\u003cp\u003e\n\u003cstrong\u003eBiographical Note\u003c\/strong\u003e:\u003cbr\u003e\n\u003cb\u003eDavid Ball\u003c\/b\u003e was one of the nation's first theater literary directors when he served under Michael Langham at Minneapolis's Guthrie Theater. He later taught acting, directing, and script analysis at Lawrence, Carnegie Mellon, and Duke Universities. He was the artistic director of Pittsburgh's renowned Metro Theater and the literary director of the Pittsburgh Public Theater. David Ball's plays and adaptations have been frequently staged at professional repertory theaters throughout the United States and in Europe, including most recently his landmark adaptations of Moliere's \n\u003ci\u003eTartuffe\u003c\/i\u003e, \n\u003ci\u003eThe Miser\u003c\/i\u003e, and \n\u003ci\u003eThe Imaginary Invalid\u003c\/i\u003e. His former theater and film students hold Oscars, Obies, Tonys, and Emmys, and his own work has been supported by the Ford, McKnight, and Shubert Foundations, and the National Endowment for the Arts.\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003eReview Quotes\u003c\/strong\u003e:\u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\"In fewer than one hundred pages, this marvelously instructive book shows how to unlock the secrets of plot, character, theme, exposition, imagery, motivation, conflict, theatricality and pacing. . . . Our editor says he learned more about dramatic structure in the few hours he spent with this ninety-six-page book than he has in his twenty years of theater experience.\"--\u003cb\u003e\u003ci\u003eStage Directions\u003c\/i\u003e\u003c\/b\u003e \u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \"Ball wrote [ \n\u003ci\u003eBackwards and Forwards\u003c\/i\u003e] to help people who put on plays understand how a play works. . . . He argues that scripts represent a special kind of writing--because it is writing meant to be staged, not read-- and thus requires special reading techniques; these techniques are what he offers.\"-- \n\u003ci\u003e\u003cb\u003eDramatics\u003c\/b\u003e\u003c\/i\u003e\n\u003cp\u003e\u003c\/p\u003e \"David Ball's \n\u003ci\u003eBackwards and Forwards \u003c\/i\u003eis without a doubt the most practical, useful, and inspiring book I've used in my graduate playwriting classes. Its value extends beyond playwrights to directors, actors, and anyone interested in how plays are constructed, analyzed, and appreciated. It's the bible for all theater practitioners.\"-- \n\u003cb\u003eStephen DiMenna\u003c\/b\u003e, faculty at New York University \n\u003cp\u003e\u003c\/p\u003e \"This book is invaluable for teaching writers how to read a play and hence how to craft their own. So many craft books try to redefine the language around writing. Ball keeps it simple and true, which is why it is a classic in theater pedagogy. I can't teach without it.\"-- \n\u003cb\u003eDarrah Cloud\u003c\/b\u003e, Goddard College \n\u003cp\u003e\u003c\/p\u003e \"David Ball's \n\u003ci\u003eBackwards and Forwards\u003c\/i\u003e is the standard for anyone trying to understand the nature of dramatic action. No book has more succinctly and pragmatically described how plays actually work than this one, and the worth of this book is proven by its ubiquity on the shelves of playwrights, dramaturgs, and teachers of dramatic literature all over the English-speaking world.\"-- \n\u003cb\u003eMichael M. Chemers\u003c\/b\u003e, author of \n\u003ci\u003eGhost Light: An Introductory Handbook for Dramaturgy\u003c\/i\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003ci\u003e\"Backwards and Forwards \u003c\/i\u003eis the foundation text for my undergraduate script analysis class. Concise, easy to navigate, and thought-provoking, Ball's work provides a common language and methodology with which theatre artists can navigate dramatic text. Accessible to those both new to and familiar with script analysis, Ball's text paves the way for rich discussion and meaning making in the classroom and on stage.\"-- \n\u003cb\u003eElizabeth Horn\u003c\/b\u003e, assistant professor of theatre, University of Central Florida \n\u003cp\u003e\u003c\/p\u003e \"David Ball's brilliantly conceived and written book is a valuable asset in all of my scripting classes. Though aimed at playwriting, \n\u003ci\u003eBackwards and Forwards\u003c\/i\u003e is of particular use in my screenwriting classes, where we use his concepts to understand why there are so many flimsy plotlines in modern films. Ball's book . . . is an essential text for classes and professional writers.\"-- \n\u003cb\u003eMichael Wright\u003c\/b\u003e, University of Tulsa \n\u003cp\u003e\u003c\/p\u003e \" \n\u003ci\u003eBackwards and Forwards\u003c\/i\u003e is an essential part of my acting class. I have found no better book to lay the groundwork for the principles we will be working on over our four-year training program. One of the strengths of the book is its ability to get students from such diverse backgrounds and levels of experience to work together and get on the same page.\"-- \n\u003cb\u003eRichie Call, \u003c\/b\u003e Utah State University \n\u003cp\u003e\u003c\/p\u003e \"Indispensable in my directing classes, this slender little volume contains an elusive mix of uncommon clarity, bracing provocation, and immediate usefulness. Never one to linger on his own cleverness, Ball makes an immediate case for action and propulsion in both script analysis and theatrical production. Directors must learn to read plays before they can direct plays, and Ball's book gives them the tools they need to read plays carefully and purposefully.\"-- \n\u003cb\u003eMatthew Reeder\u003c\/b\u003e, Ball State University \n\u003cp\u003e\u003c\/p\u003e \"David Ball's little tome may have been written for directors of theater, but I find its practical and straightforward manner in explaining how to read a script essential for writers. I require this book for my screenwriters, television writers, and playwrights. It is a core part of my library.\"-- \n\u003cb\u003eSean Gaffney, \u003c\/b\u003edirector of the MFA in script and screenwriting, Regent University \n\u003cp\u003e\u003c\/p\u003e \" \n\u003ci\u003eBackwards and Forwards: \u003c\/i\u003esuccinct, clear, incisive. As long as stories are valued, this book will stay young. I just keep going back to it. Students love it. And so do their teachers.\"-- \n\u003cb\u003eDavid Feldshuh, \u003c\/b\u003eCornell University \n\u003cp\u003e\u003c\/p\u003e \" \n\u003ci\u003eBackwards and Forwards\u003c\/i\u003e is a brilliant, unique, and influential book. I have used it for many years in my work as a professional actor and director, as well as in the classroom when teaching directing and play analysis.\"-- \n\u003cb\u003eHarold Dixon, \u003c\/b\u003e distinguished professor emeritus, School of Theatre Arts, University of Arizona \n\u003cp\u003e\u003c\/p\u003e \"It's extremely rare that you will read a book and it changes your perspective on not only what you do creatively but also how you do what you do. David Ball's \n\u003ci\u003eBackwards and Forwards\u003c\/i\u003e is that book for me. It gave me a practical way to inject new life into techniques that I'd been using for years which allowed me to become a much better writer, acting coach, and college professor.\"-- \n\u003cb\u003eKenneth Cosby, \u003c\/b\u003eformer writing professor at the University of Southern California, Los Angeles, and New York University \n\u003cp\u003e\u003c\/p\u003e \"I first encountered \n\u003ci\u003eBackwards and Forwards\u003c\/i\u003e as an undergraduate and now, as a college professor, teach it to my own students. The book's deceptively simple, straightforward approach to play analysis not only is timeless but also continues to provide me with fresh insights as both a scholar and a practitioner.\"-- \n\u003cb\u003eInga Meier, \u003c\/b\u003e Stephen F. Austin University \n\u003cp\u003e\u003c\/p\u003e \"In less than one hundred pages \n\u003ci\u003eBackwards and Forwards \u003c\/i\u003ehas taught me more about theatre than any other book. It makes me a better artist and a better teacher.\"-- \n\u003cb\u003eMatt Fotis, \u003c\/b\u003e Albright College \n\u003cp\u003e\u003c\/p\u003e \"For such a little book, \n\u003ci\u003eBackwards and Forwards \u003c\/i\u003epacks a wallop. For decades, Ball's thoroughly enjoyable read has been my secret weapon for every class that I taught in theatre arts. I have used it faithfully as the key reference text guiding student actors through in-depth analyses of the classics of world theatre. . . . For the first-time reader, it can be devoured in one sitting. For the most experienced actor, director, or scenographer it is a text best kept on the shelf as a well-worn reference. Breezy, engrossing, and succinct, \n\u003ci\u003eBackwards and Forwards\u003c\/i\u003e is the key to unlocking the universe of the theatrical canon of world plays.\"-- \n\u003cb\u003eTheresa Larkin, \u003c\/b\u003eCalifornia State University, Los Angeles \n\u003cbr\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003eTable of Contents\u003c\/strong\u003e:\u003cbr\u003e\n\t\t\t\t\t\t\t\tContents \n\u003cbr\u003e Foreword to the 2017 Edition \n\u003cbr\u003e Foreword to the 1983 Edition \n\u003cbr\u003e Introduction \n\u003cp\u003e\u003c\/p\u003e Part One: Shape 7 \n\u003cbr\u003e 1. What Happens That Makes Something Else Happen? \n\u003cbr\u003e 2. And What Happens Next? \n\u003cbr\u003e 3. But Do It Backwards \n\u003cbr\u003e 4. Stasis and Intrusion \n\u003cbr\u003e 5. Obstacle, Conflict \n\u003cbr\u003e 6. Ignorance Is Bliss \n\u003cbr\u003e 7. Things Theatrical \n\u003cp\u003e\u003c\/p\u003e Part Two: Methods \n\u003cbr\u003e 8. Exposition \n\u003cbr\u003e 9. Forwards: Hungry for Next \n\u003cbr\u003e 10. Missing Persons (Character) \n\u003cbr\u003e 11. Image \n\u003cbr\u003e 12. Theme \n\u003cp\u003e\u003c\/p\u003e Part Three: Tricks of the Trade \n\u003cbr\u003e 13. Background Information \n\u003cbr\u003e 14. Trusting the Playwright \n\u003cbr\u003e 15. Families \n\u003cbr\u003e 16. Generalities: Mood, Atmosphere \n\u003cbr\u003e 17. The Unique Factor \n\u003cbr\u003e 18. Changing Eras \n\u003cbr\u003e 19. Climax \n\u003cbr\u003e 20. Beginnings\/Endings \n\u003cbr\u003e 21. Rereading \n\u003cbr\u003e 22. What Next? \n\u003cp\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003ePublisher Marketing\u003c\/strong\u003e:\u003cbr\u003e\n\u003cp\u003e\u003cb\u003eThe best-selling script analysis book for thirty-five years\u003c\/b\u003e \u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e Considered an essential text since its publication thirty-five years ago, this guide for students and practitioners of both theater and literature complements, rather than contradicts or repeats, traditional methods of literary analysis of scripts. \n\u003cp\u003e\u003c\/p\u003e Ball developed his method during his work as literary director at the Guthrie Theater, building his guide on the crafts playwrights of every period and style use to make their plays stageworthy. The text is full of tools for students and practitioners to use as they investigate plot, character, theme, exposition, imagery, conflict, theatricality, and the other crucial parts of the superstructure of a play. Also included are guides for discovering what the playwright considers a play' s most important elements, thus permitting interpretation based on the foundation of the play rather than its details. \n\u003cp\u003e\u003c\/p\u003e Using Shakespeare's \n\u003ci\u003eHamlet\u003c\/i\u003e as illustration, Ball assures a familiar base for clarifying script-reading techniques as well as exemplifying the kinds of misinterpretation readers can fall prey to by ignoring the craft of the playwright. Of immense utility to those who want to put plays on the stage (actors, directors, designers, production specialists) \n\u003ci\u003eBackwards \u0026amp; Forwards\u003c\/i\u003e is also a fine playwriting manual because the structures it describes are the primary tools of the playwright. \n\u003cbr\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\n\u003cbr\u003e\n\u003cp\u003e\n\u003cstrong\u003eContributor Bio:\u003c\/strong\u003eBall, David\u003cbr\u003e\n\u003cb\u003eDavid Ball\u003c\/b\u003e was one of the nation's first theater literary directors when he served under Michael Langham at Minneapolis's Guthrie Theater. He later taught acting, directing, and script analysis at Lawrence, Carnegie Mellon, and Duke Universities. He was the artistic director of Pittsburgh's renowned Metro Theater and the literary director of the Pittsburgh Public Theater. David Ball's plays and adaptations have been frequently staged at professional repertory theaters throughout the United States and in Europe, including most recently his landmark adaptations of Moliere's \n\u003ci\u003eTartuffe\u003c\/i\u003e, \n\u003ci\u003eThe Miser\u003c\/i\u003e, and \n\u003ci\u003eThe Imaginary Invalid\u003c\/i\u003e. His former theater and film students hold Oscars, Obies, Tonys, and Emmys, and his own work has been supported by the Ford, McKnight, and Shubert Foundations, and the National Endowment for the Arts.\u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003cp\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Ball, David\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Southern Illinois University Press\u003cbr\u003e\u003cb\u003eBinding:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003ePub Date:\u003c\/b\u003e 1983-07-07\u003cbr\u003e\u003cb\u003eBISAC:\u003c\/b\u003e Language Arts \u0026amp; Disciplines \/ Writing \/ General\u003cbr\u003e\u003cb\u003eSubjects:\u003c\/b\u003e Drama|Technique|Theater|Production and direction|Shakespeare, William\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 0.35 lbs\u003cbr\u003e\u003cb\u003eISBN:\u003c\/b\u003e 9780809311101\u003cbr\u003e\u003cb\u003eASIN:\u003c\/b\u003e -\u003cbr\u003e\u003cb\u003eSKU:\u003c\/b\u003e SP-9780809311101\u003c\/p\u003e","brand":"Southern Illinois University Press","offers":[{"title":"Default Title","offer_id":52373021688089,"sku":"SP-9780809311101","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0913\/0380\/5209\/files\/9780809311101_spiral.png?v=1778455885","url":"https:\/\/westbindery.com\/products\/backwards-forwards-a-technical-manual-for-reading-plays","provider":"West Bindery","version":"1.0","type":"link"}