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Getting into the nuts and bolts of how learners learn and teachers teach with emphasis on the gap between everyday English acquired within two years and academic language students should have by year five. Chapter 3 will be the last place BICS and CALP are mentioned; not going to miss them! Chapter 4 replaces friendly school photos with CEFR-based charts and text-filled graphics, providing a map from A1 to C2 skills.

Not quite sure what to make of this revenge tragedy, mostly due to the fatal wrongs having been done in an earlier play and vengeance not really happening until the end of the last act - and it still takes forever for Montsurry to die, unlike his suicidal assailant Clermont, Bussy's brother. To fill up the long stretches of time of characters glowering at each other, Chapman draws speeches from his Homer translation.

All due respect to Bill and Zelda, who give engaging accounts of their life in theatre, but Julie was just a bit more enthralling moving between one project and medium to the next, with her insight into world theatre practices. Perhaps it is simply my bias, having her film Titus as my all-time favourite, but it all comes from who she is. Turns out that Titus was a nightmare but is still her passion.

All due respect to Bill and Zelda, who give engaging accounts of their life in theatre, but Julie was just a bit more enthralling moving between one project and medium to the next, with her insight into world theatre practices. Perhaps it is simply my bias, having her film Titus as my all-time favourite, but it all comes from who she is. Turns out that Titus was a nightmare but is still her passion.

There has got to be easier ways to run a tobacco shop, yet the play's point seems to be there is so much need in society that a good person must hide behind a mask of indifference in order to do good for others. Shen Teh also wanted some of that good for herself and the little airman in her belly, and the brilliant move by the vanishing gods was to give her (and Shui Ta once a month) their blessing but no resolution.

Another textbook to use in the Classroom Discourses course I will soon be teaching, and this one seems to be on the ball for teachers (hopefully teacher candidates, too) interacting with ELL students. Of course, the world has changed dramatically over the five years since the book was published, so it helps that the general information on how immigrant and refugee get settled into schools in Canada is still relevant.

Anne chooses artists to converse with who are frequent SITI collaborators and well-respected within their theatrical field, so naturally they have a lot to say of their process and collaborations. And yet, it starts feeling like they are creating an echo chamber: "you're great", "yes you are too" and "tell me more about that wonderful piece." There is plenty to learn from the Andrés, Paulas and Marthas yet not Mamet?

Many of Anne Bogart's conversants praise Brecht as the first man in theater, and perhaps with good reason. Asides from seeing a couple productions of Threepenny Opera, I am at a loss in firsthand knowledge. Halfway through this play and I am more at a loss to say what makes it so great: an emphasis on the hard times experienced by the 99% and crafty ways people get food in their bellies, morals following on?

Balancing between hate and love, the first three guests Anne interviews have shaped her career and that of SITI by being very involved with what they put on stage, whether this means treating actors like props like Foreman, putting on operas and dance for more discerning audiences as Sellars does, or grabbing hold of any source to adapt into modern-day settings like Mee Jr. The audiences adds another inquiring voice.

Balancing between hate and love, the first three guests Anne interviews have shaped her career and that of SITI by being very involved with what they put on stage, whether this means treating actors like props like Foreman, putting on operas and dance for more discerning audiences as Sellars does, or grabbing hold of any source to adapt into modern-day settings like Mee Jr. The audiences adds another inquiring voice.

With a dramatic history of development and almost-staged versions, seeing a complete production of Brecht's play became akin to the gods' quest to find the one good person - perhaps it is the origin of Hollywood's favourite stereotype: the sex worker with a heart of gold. And yet the post-prologue journey for Shen Ten will be to trade in so much of inner gold for the sake of a few more coins and a roof over her head.

Much of the inspiration for the two authors comes from surrounding themselves with open-minded and soft focusing talented people. It comes across with the films, images and books they reference - I am very intrigued to find out more ways to incorporate Madeleine L'Engle's tesseracting (even as she reinvented the term Charles Howard Hinton coined) to become a fifth-dimensional style of full-immersion theater.

Much of the inspiration for the two authors comes from surrounding themselves with open-minded and soft focusing talented people. It comes across with the films, images and books they reference - I am very intrigued to find out more ways to incorporate Madeleine L'Engle's tesseracting (even as she reinvented the term Charles Howard Hinton coined) to become a fifth-dimensional style of full-immersion theater.

As Viewpoints shifts into Composition and Source Work, the co-authors reveal a greatest-hits of artistic inspiration, which includes Stoppard, Brook, Chekhov, Zeami, etc., all of whom get called upon to unite the company in creating a Play-World, or as I like to call it: a virtual reality! Every step of the way is essential to get the cast to stop acting from the psychological-minded head and more as a shared vision.

The book draws to an inconclusive close with a couple of ruminating chapters on the potential that virtual worlds have for education, but the real lesson comes with Layla Tabatabaie Esquire's investigation into virtual policies and legal issues. Soon future eye-tracking software will suck personal information from our screen gazing, the groundwork was already laid out with every unread Term of Service click-contract.

A minor masterpiece that is both playful and philosophical: Albert gains a new perspective on the world, later share by the not-yet clinically depressed Fraser, and because of some kooky bureaucratic calculations, gets to paint a whole bridge on his own. On the ground around him relationships fall apart and even a trip to Paris only reveals how same everything is from the top. Up until his River Kwai moment.

A very Christopher Nolanesque radio play, kind of like Inception in construction, but more like Memento in subject matter: two aging artists must uncover which of them murdered a third, and a series of flashbacks sends them hurtling back to France on the cusp of the Great War. Along the way, they become entangled with a blind woman who later haunts as inspiration for various forms of avant-gardisms.

An amusing story that ends up tragically serious for the dissolute Dominic, a city-dweller who spends all he has to get from one possible source of money to the next, costing him more and more as the taxi driver takes all. And while the short play very specifically deals with a bootless Mr Boot counting shillings and pence in his head, a more universal characteristic reveals how we borrow from Peter to pay back Paul.

Research into the virtual must be better, go beyond tepid, timid finding reported in many of these chapters: Bertacchini & Tavernise only going so far to problematize the tidy virtual world "only one [anonymous] student" calling out their data gathering as "boring additional work" (p. 235); Campbell & Cameron come closer to a breakthrough with their observation on the limits of embedded narrative, but no new reality.

The first version of Indian Ink played much more breezily for the radio - not so many interruptions from Prof. Pike, but his footnoting presence in the letter scenes still assures he (and thus scholarship) will forever have the wrong end of the stick. Layered among the many literary references is a hint about later play Invention of Love'a Housman, a subtle call-out to Edenic Out of Africa.

After reading Dan Falk's In Search of Time, it's amusing to read a play pre-dating that book that riffs so much on the unknowable qualities of Time that only a few minds like Gladys fully comprehend, hidden under the surface of cycling hours, minutes and seconds pip pip pipping. Frustrated Frank tries to rescue her from the baffling bureaucracy, even allowing her to go back and be a nun if the Lord wills it.

After reading Dan Falk's In Search of Time, it's amusing to read a play pre-dating that book that riffs so much on the unknowable qualities of Time that only a few minds like Gladys fully comprehend, hidden under the surface of cycling hours, minutes and seconds pip pip pipping. Frustrated Frank tries to rescue her from the baffling bureaucracy, even allowing her to go back and be a nun if the Lord wills it.

After reading Dan Falk's In Search of Time, it's amusing to read a play pre-dating that book that riffs so much on the unknowable qualities of Time that only a few minds like Gladys fully comprehend, hidden under the surface of cycling hours, minutes and seconds pip pip pipping. Frustrated Frank tries to rescue her from the baffling bureaucracy, even allowing her to go back and be a nun if the Lord wills it.

Often called a gift by the authors, Viewpoints offers theatre artists a gentle yet rigorous method of becoming attuned to others on stage and the multidimensionality of the stage itself. Many of the exercises remind me of classroom activities I have tried out with students; always in my case feeling rushed and incomplete, probably as I didn't know why such methodological steps were needed. Now I know how it all fits.

The dog will have his day, except for one dreadful night on a barge that was an end for the titular mutt and more of a drawn-out death for the figurative one named Purvis, at the end of his rope running messages between two masters. Blair seems content on behalf of one master to keep Purvis on a short leash as long as it keeps his house full of clocks and other capitalistic curiosities. Too bad this cat couldn't mew!

Before responding to ideas of virtù as represented by the bourgeoisie, let me just express my surprise: Machiavelli wrote a comedy! Why are we still mulling over The Prince when Mandragora aptly sums up his social critique as a romantic comedy? So close to multidimensionality of Shakespeare's plays, and to think the latter playwright lambasted the former as if the Machiavel was a new breed of devil.

A history of theatre's initial development from a festive choral event to the invention of the tragic protagonist includes many pre-Socratic philosophers and jumps directly to Aristotle with just a brief mention of Socrates himself (really just a paragraph about Plato). Boal has much to say about the imitative powers of tragedy, at least for this first stage, as providing a social ethos via post-peripeteia catharsis.

Feels like I am levelling up my drama education game, not that the alchemical rambling of Artaud were a bad thing, just that they were very challenging to bring into the classroom, let alone for his own company to stage. Boal, on the other hand, designed his radical theatre after Freire and it, like Pedagogy of the Oppressed, is an attempt to bring play back to the people not limited to bourgeoisie "actors."

Going full-tilt with the moon references, this instance is the name Constance associated with the letter M since childhood and now as she is slipping into an early second one, only at 42 and a half years old! Her husband Alfred is a piece of work: distracted by the tidbits of news, including the death of Marilyn Monroe, yet frustrated the his wife obsesses over the monthly world sent courtesy of her brother's behest.

Perhaps I have got the wrong end of the virtual stick and should be as rigorous and methodology-minded as the academics who set up case studies in various virtual worlds: measuring participants' interactions with bots and somewhat realistic settings. Yet the conclusions and further discussions rarely mention the affect towards the digital aesthetic, how much gamers should be in awe (or abhor) learning via video game.