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A new exploration of literary and artistic responses to WW1 from 1914 to the presentThis authoritative reference work examines literary and artistic responses to the wars upheavals across a wide range of media and genres, from poetry to pamphlets, sculpture to television documentary, and requiems to war reporting. Rather than looking at particular forms of artistic expression in isolation and focusing only on the war and inter-war period, the 26 essays collected in this volume approach artistic responses to the war from a wide variety of angles and, where appropriate, pursue their inquiry into the present day. In 6 sections, covering Literature, the Visual Arts, Music, Periodicals and Journalism, Film and Broadcasting, and Publishing and Material Culture, a wide range of original chapters from experts across literature and the arts examine what means and approaches were employed to respond to the shock of war as well as asking such key questions as how and why literary and artistic responses to the war have changed over time, and how far later works of art are responses not only to the war itself, but to earlier cultural production.Key FeaturesOffers new insights into the breadth and depth of artistic responses to WWIEstablishes links and parallels across a wide range of different media and genresEmphasises the development of responses in different fields from 1914 to the present
Shakespeare's Globe Theatre is recognised worldwide as both a monument to and significant producer of the dramatic art of Shakespeare and his contemporaries. But it has established a reputation too for commissioning innovative and distinctive new plays that respond to the unique characteristics and identity of the theatre. This is the first book to focus on the new drama commissioned and produced at the Globe, to analyse how the specific qualities of the venue have shaped those works and to assess the influences of both past and present in the work staged. The author argues that far from being simply a monument to the past, the reconstructed theatre fosters creativity in the present, creativity that must respond to the theatre's characteristic architecture, the complex set of cultural references it carries and the heterogeneous audience it attracts. Just like the reconstructed 'wooden O', the Globe's new plays highlight the relevance of the past for the present and give the spectators a prominent position. In examining the score of new plays it has produced since 1995 the author considers how they illuminate issues of staging, space, spectators, identity and history - issues that are key to an understanding of much contemporary theatre. Howard Brenton's In Extremis and Anne Boleyn receive detailed consideration, as examples of richly productive connection between the playwright's creativity and the theatre's potential. For readers interested in new writing for the stage and in the work of one of London's totemic theatre spaces, New Playwriting at Shakespeare's Globe offers a fascinating study of the fruitful influences of both past and present in today's theatre.
This is an epic, hilarious and moving play that takes a sideways look at the First World War. 1915. Jack Twigg, 19 years old, enlists in the London Regiment and goes on a journey neither he - nor the rest of the world - ever imagined. On his way, he meets the pioneering medic Harold Gillies, who saves his life and his sanity. But who is the mysterious 'Doctor Scroggy' who appears at night in Gillies's hospital dispensing champagne to the patients?
In this epic new WWI play, 19-year-old Jack Twigg enlists in the London Regiment and embarks on an unimaginable journey.
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Rose Allatini is remembered today for writing 'Despised and Rejected', the only novel to be prosecuted under the Defence of the Realm Act during the Great War as 'liable to prejudice recruiting in His Majesty's forces. The book's positive depiction of homosexuals and conscientious objectors alarmed the wartime authorities. But Rose Allatini was also the author (under several disguises) of nearly forty other novels, over seven decades. This monograph sets out to dispel the myth that these other books were no more than romantic pot-boilers. The novels' themes include: critiques of the position of women in London and Vienna at the start of the twentieth century; an exploration of the experience of mental illness; warnings of the rise of Nazism in thirties Austria, depictions of the experiences of refugees in London during the Second World War; and speculations about spiritual healing. Rose Allatini was a novelist who went where many others did not care to venture.
First staged at London's National Theatre in 1980, having been commissioned by Peter Hall, The Romans in Britain contrasts Julius Caesar's Roman invasion of Celtic Britain with the Saxon invasion of Romano-Celtic Britain, and finally Britain's involvement in Northern Ireland during The Troubles of the late twentieth century. As these scenes bleed into one another, Brenton suggests what it might have been like for these people to meet. Three Roman soldiers sexually assault a young druid priest. A lone, wounded Saxon soldier stumbles into a field, a nightmare made real. An army intelligence officer begins to lose his mind in the Irish fields. Brenton's sinewy vernaculars summon a lost history of cultural collision and oppression, of fear and sorrow. This edition features an introduction by Philip Roberts, Emeritus Professor of Drama & Theatre Studies at the University of Leeds, and a foreword by director Sam West.