Description : Between 1960 and 2010, a new generation of British avant-garde theatre companies, directors, designers, and performers emerged. Some of these companies and individuals have endured to become part of theatre history while others have disappeared from the scene, mutated into new forms, or become part of the establishment. Reverberations across Small-Scale British Theatre at long last puts these small-scale British theatre companies and personalities in the scholarly spotlight. By questioning what 'Britishness' meant in relation to the small-scale work of these practitioners, contributors articulate how it is reflected in the goals, manifestos, and aesthetics of these companies.
Description : This series of three volumes provides a groundbreaking study of the work of many of the most innovative and important British theatre companies from 1965 to the present. Each volume provides a survey of the political and cultural context, an extensive survey of the variety of theatre companies from the period, and detailed case studies of six of the major companies. Volume Two, 1980–1994, covers the period when cuts under Margaret Thatcher's Tory government changed the landscape for British theatre. Yet it also saw an expansion of companies that made feminism and gender central to their work, and the establishment of new black and Asian companies. Leading academics provide case studies of six of the most important companies, including: * Monstrous Regiment, by Kate Dorney (The Victoria & Albert Museum) *Forced Entertainment, by Sarah Gorman (University of Roehampton, London, UK) * Gay Sweatshop, by Sara Freeman (University of Puget Sound, USA) * Joint Stock, by Jaqueline Bolton (University of Lincoln, UK) * Theatre de Complicite, by Michael Fry * Talawa, by Kene Igweonu (Canterbury Christ Church University, UK)
Description : This collection of essays investigates the way Africa has been portrayed on the London stage from the 1950s to the present. It focuses on whether — and, if so, to what extent — the Africa that emerges from the London scene is subject to stereotype, and/or in which ways the reception of audiences and critics have contributed to an understanding of the continent and its arts. The collection, divided into two parts, brings together well-established academics and emerging scholars, as well as playwrights, directors and performers currently active in London. With a focus on Wole Soyinka, Athol Fugard, Bola Agbaje, Biyi Bandele, and Dipo Agboluaje, amongst others, the volume examines the work of key companies such as Tiata Fahodzi and Talawa, as well as newer companies Two Gents, Iroko Theatre and Spora Stories. Interviews with Rotimi Babatunde, Ade Solanke and Dipo Agboluaje on the contemporary London scene are also included.
Description : Beckett's relationship with British theatre is complex and underexplored, yet his impact has been immense. Uniquely placing performance history at the centre of its analysis, this volume examines Samuel Beckett's drama as it has been staged in Great Britain, bringing to light a wide range of untold histories and in turn illuminating six decades of drama in Britain. Ranging from studies of the first English tour of Waiting for Godot in 1955 to Talawa's 2012 all-black co-production of the same play, Staging Samuel Beckett in Great Britain excavates a host of archival resources in order to historicize how Beckett's drama has interacted with specific theatres, directors and theatre cultures in the UK. It traces production histories of plays such as Krapp's Last Tape; presents Beckett's working relationships with the Royal Court, Riverside and West Yorkshire Playhouse, as well as with directors such as Peter Hall; looks at the history of Beckett's drama in Scotland and how the plays have been staged in London's West End. Production analyses are mapped onto political, economic and cultural contexts of Great Britain so that Beckett's drama resonates in new ways, through theatre practice, against the complex contexts of Great Britain's regions. With contributions from experts in the fields of both Beckett studies and UK drama, including S.E. Gontarski, David Pattie, Mark Taylor-Batty and Sos Eltis, the volume offers an exceptional and unique understanding of Beckett's reception on the UK stage and the impact of his drama within UK theatre practices. Together with its sister volume, Staging Samuel Beckett in Ireland and Northern Ireland it will prove a terrific resource for students, scholars and theatre practitioners.
Description : This volume gathers contributions from a range of international scholars and geopolitical contexts to explore why people organise themselves into performance communities in sites of crisis and how performance – social and aesthetic, sanctioned and underground – is employed as a mechanism for survival. The chapters treat a wide range of what can be considered 'survival', ranging from sheer physical survival, to the survival of a social group with its own unique culture and values, to the survival of the very possibility of agency and dissent. Performance as a form of political resistance and protest plays a large part in many of the essays, but performance does more than that: it enables societies in crisis to continue to define themselves. By maintaining identities that are based on their own chosen affiliations and not defined solely in opposition to their oppressors, individuals and groups prepare themselves for a post-crisis future by keeping alive their own notions of who they are and who they hope to be.
Description : The need for people to get together and enjoy live entertainment exists in every culture. No city, town or college is complete without its places of assembly. The form that these buildings takes varies enormously, but they all have certain principles in common, whatever their scale and regardless of whether they are new buildings or conversions or refurbishment of old premises. Drawing on a wealth of expertise, this illustrated book, produced in conjunction with the Association of British Theatre Technicians, examines in detail each function and requirement of a theatre building and gives technical guidance on achieving the best results.
Description : While the history of musical instruments is nearly as old as civilisation itself, the science of acoustics is quite recent. By understanding the physical basis of how instruments are used to make music, one hopes ultimately to be able to give physical criteria to distinguish a fine instrument from a mediocre one. At that point science may be able to come to the aid of art in improving the design and performance of musical instruments. As yet, many of the subtleties in musical sounds of which instrument makers and musicians are aware remain beyond the reach of modern acoustic measurements. This book describes the results of such acoustical investigations - fascinating intellectual and practical exercises. Addressed to readers with a reasonable grasp of physics who are not put off by a little mathematics, this book discusses most of the traditional instruments currently in use in Western music. A guide for all who have an interest in music and how it is produced, as well as serving as a comprehensive reference for those undertaking research in the field.