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First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Pulp and other Plays by Tasha Fairbanks is an anthology of plays which were written for the British group Siren Theatre Company, a lesbian theatre collective founded in 1979 by women from the punk music scene and worked with their unorthodox performance skills to challenge mainstream traditions of 'straight' acting. This anthology of three of the company’s plays brings together long overdue recognition to the company which was Britain's foremost lesbian collective in the 1980s. This collection indicated the diversity of te Siren's theater work: their radical feminist critique of heterosexuality and male violence in 'Curfew', their celebration of lesbian glamour and desire in 'Pulp' and a scathing attack on Thatcherite Britain in ' Now Wash Your Hands, Please'.
This book maps the most active and vibrant period in the history of British women's writing. Examining changes and continuities in fiction, poetry, drama, and journalism, as well as women's engagement with a range of literary and popular genres, the essays in this volume highlight the range and diversity of women's writing since 1970.
What is Israeli theatre? Is it only a Hebrew theatre staged in Israel? Are performances by Arab Israelis working in an Arabic theatre framework not part of the repertoire of Israeli theatre? Do they perhaps belong to the Palestinian theatre? What are the "borders" of Palestinian theatre? Are not theatrical works created in East Jerusalem by Arab Israeli playwrights and actors, and staged on occasion before Jewish Israeli audiences, part of a dialogue between Palestinian and Israeli cultures? Does "theatre" only include works staged under that title? These and other similarly absorbing questions arise in Dan Urian's wide-ranging and detailed study of the image of the Arab in Israeli drama and theatre. By the use of extensive examples to show how theatre, politics and personal perceptions intertwine, the author presents us with a model which can be used as a basis for the further discussion and study of similar social and artistic phenomena in other cultures in relation to their theatre and drama.
Jacques Lecoq and the British Theatre brings together the first collection of essays in English to focus on Lecoq's school of mime and physical theatre. For four decades, at his school in Paris, Jacques Lecoq trained performers from all over the world and effected a quiet evolution in the theatre. The work of such highly successful Lecoq graduates as Theatre de Complicite (The Winter's Tale with the Royal Shakespeare Company and The Visit, The Street of Crocodiles and The Causcasian Chalk Circle with the Royal National Theatre) has brought Lecoq's work to the attention of mainstream critics and audiences in Britain. Yet Complicte is just the tip of the Iceberg. The contributors to this volume, most of them engaged in applying Lecoq's work, chart some of the diverse ways in which it has had an impact on our conceptions of mime, physical theatre, actor training, devising street theatre and interculturalism. This lively - even provocative - collection of essays focuses academic debate and raises awareness of the impact of Lecoq's work in Britain today.
Theatres of Conscience offers an invaluable and essential insight into four touring British theatre companies whose work and contributions to post-war British theatre have largely gone unnoticed. Combining a rigorous scholarly evaluation of their work and their broadly ideological and ethical contribution to wider post-war developments in British theatre. Peter Billingham offers the reader a unique insight into four companies which, motivated by enthusiasm, principles and creative innovation, sought to take the theatre of conscience to theatre-less communities in wartime Britain and during the following decade. Contemporaries of - amongst others - Joan Littlewood's Theatre Workshop, the Pilgrim Players, the Adelphi Players, the Compass Players and the Century Theatre represent a significant but rather overlooked phase in the development of twentieth-century British theatre.
Cecil Davies' The Adelphi Players: The Theatre of Persons represents a uniquely interesting contribution to our understanding of touring British theatre in the mid-twentieth-century, post-war period. This book will interest everyone - whether student, academic or general reader - who wants to know more about issues concerning the recent history of British theatre. In their values and aims, the Adelphi Players pre-empted many of the post-war developments that we associate with the non-commercial, fringe and community theatre movement. In Richard Heron Ward founder of the Adelphi-Players, we encounter a dramatist, novelist, essayist and poet who has been unusually neglected in terms of our appreciation of the English literature of the broad left in the 1930s, `40s and `50s. The Adelphi Players has been edited by Peter Billingham, who has also provided an introduction placing Ward and the Adelphi players in the wider social, cultural and ideological context.
Edward Bond Letters 5 contains over thirty letters and papers covering Bond's controversial views on violence and justice, plays, writers and directors, and a postscript that is Bond's discussion of the funeral of Diana, Princess of Wales. As always the explosive content of these letters applies to Bond's plays and society as a whole. We learn through these absorbing letters his attitude to violence. Bond believes that all violence is the manifestation of an unbalanced and dangerous society. As with the four preceding volumes in this collection, Edward Bond is critical of our present theatre, but at the same time his observations are useful in indicating how theatre can be changed. Bond's illustrations provide a lively accompaniment to the letters.
Pp. 1-19 contain an introduction by Harrison to the play, a documentary about Holocaust rescuers, first performed in London in July 1988. The play is based on research on the altruistic motivations and characters of rescuers, as elucidated by Samuel p. and Pearl M. Oliner. The "stories" or accounts of rescuers, and partly of rescuees, are taken directly from their responses to the questionnaire distributed by the Oliners. Describes the background, the writing, and the presentation of the play.